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SIX 


AT  IONS 


"Gozzi  maintained  that  there  can  he  hut  thirty-six  tragic 
situations.  Schiller  took  great  pains  to  find  more,  but  he  was 
unable  to  find  even  so  many  as  Gozzi."  —  Goethe. 


The 

Thirty-Six  Dramatic 

Situations 


GEORGES  POLTI 

Translated  by  Lucile  Ray 


Franklin)  ohin 
JAMES  KNAIT  REEVE 


COPYRIGHT,  1916,  1917 
THE  EDITOR  COMPANY 

COPYRIGHT,  1921 
JAMES  KNAPP  REEVE 


52g36& 


Theatre  Arts 
library 

PM 

m 

11  aj 


THE  THIRTY-SIX  DRAMATIC  SITUATIONS 


INTRODUCTION 

"Gozzi  maintained  that  there  can  be  but  thirty-six  tragic 
situations.  Schiller  took  great  pains  to  find  more,  but  he 
was  unable  to  rind  even  so  many  as  Gozzi." 

Thirty-six  situations  only!  There  is,  to  me,  some- 
thing tantalizing  about  the  assertion,  unaccompanied 
as  it  is  by  any  explanation  either  from  Gozzi,  or  from 
Goethe  or  Schiller,  and  presenting  a  problem  which  it 
does  not  solve.  For  I  remembered  that  he  who  declared 
by  this  limited  number  so  strongly  synthetic  a  law, 
had  himself  the  most  fantastic  of  imaginations.  He  was 
the  author,  this  Gozzi,  of  "Turandot,"  and  of  the  "Roi 
Cerf,"  two  works  almost  without  .analogue,  the  one 
upon  the  situation  of  the  "Enigma,  '  the  other  upon 
phases  of  metempsychosis;  he  was  the  creator  of  a  dra- 
matic system,  and  the  Arabesque  spirit,  through  him 
transfused,  has  given  us  the  work  of  Hoffmann,  Jean- 
Paul  Richter  and  Poe. 

The  Venetian's  exuberance  would  have  mack'  me 
doubtful  of  him,  since,  having  once  launched  at  us  this 
number  36,  he  kept  silence.  Put  Schiller,  rigid  and 
ardent  Kantian,  prince  of  modern  aest  het  icians,  master 
of  true  historic  drama,  had  he  not  in  turn,  before 
epting  this  rule,  "taken  greal  pains"  to  verify  it  and 
the  pains  of  a  Schiller!)  thereby  giving  it  the  additional 
authority  of  his  powerful  criticism  and  his  rich  memory? 
And  Goethe,  his  opposite  in  all  things  save  a  strong 
te  for  the  abstract,  Goethe,  who  throughout  his 
life  Beems  to  have  considered  the  .subject,  adds  his  testi- 
mony years  after  the  death  of  Schiller,  years  after  their 


8  THIRTY-SIX  DRAMATIC  SITUATIONS 

fruitful  conversations,  at  the  very  time  when  he  was 
completing  "Faust,"  that  supreme  combination  of  con- 
trasting elements. 

In  France,  Gerard  de  Nerval  alone  had  grasped  and 
presented  briefly  the  ensemble  of  all  dramatic  produc- 
tion, in  an  article  upon  Soumet's  "Jane  Grey,"  in 
"L'Artiste,"  written,  unfortunately,  with  what  dandy- 
ism of  style!  Having  early  desired  to  know  the  exact 
number  of  actions  possible  to  the  theater,  he  found,  he 
tells  us,  twenty-four.  His  basis,  however,  is  far  from 
satisfactory.  Falling  back  upon  the  outworn  classifi- 
cation of  the  seven  capital  sins,  he  finds  himself  obliged 
at  the  outset  to  eliminate  two  of  them,  gluttony  and 
sloth,  and  very  nearly  a  third,  lust  (this  would  be  Don 
Juan,  perhaps).  It  is  not  apparent  what  manner  of 
tragic  energy  has  ever  been  furnished  by  avarice,  and 
the  divergence  between  pride  (presumably  the  spirit  of 
tyranny)  and  danger,  does  not  promise  well  for  the  con- 
texture of  drama,  the  manifestations  of  the  latter  being 
too  easily  confounded  with  those  of  envy.  Furthermore, 
murder  or  homicide,  which  he  indicates  as  a  factor  for 
obtaining  several  new  situations,  by  uniting  it  in  turn 
with  each  of  the  others,  cannot  be  accepted  as  such, 
since  it  is  but  an  accident  common  to  all  of  them,  pos- 
sible in  all,  and  one  most  frequently  produced  by  all. 
And  finally,  the  sole  title  mentioned  by  Nerval,  "Rivalry 
of  Queen  and  Subject,"  corresponds,  it  will  be  observed, 
only  to  a  sub-class  of  one,  not  of  his  twenty-four,  but  of 
Gozzi's  Thirty-six  Situations. 

Since  Nerval,  no  one  has  treated,  in  Gozzi's  genuinely 
technical  manner,  of  the  secrets  of  invention,  unless  it 
be  relevant  to  mention  in  this  connection  Sarcey's  cele- 
brated theory  of  the  "scene-a-faire,"  a  theory  in  general 
but  ill  comprehended  by  an  age  which  dreads  didacti- 
cism, -  -  that  is  to  say,  dreads  any  serious  reflection  upon 
art;  some  intimate  notes  of  Dumas  fils  which  were  pub- 
lished against  his  wishes,  if  my  youthful  memories  are 
correct,  in  the  "Temps"  some  years  ago,  and  which  set 
forth  that  double  plot  of  Corneille  and  Racine,  a  heroine 
disputed  by  two  heroes,  and  a  hero  disputed  by  two 


INTRODUCTION  9 

heroines;   and,   lastly,   some   works   here   and   there   by 
Valin,  upon  composition.     And  that  is  all,  absolutely  all. 

Finally,  in  brief,  I  rediscovered  the  thirty-six  situa- 
tions, as  Gozzi  doubtless  possessed  them,  and  as  the 
reader  will  find  them  in  the  following  pages;  for  there 
were  indeed,  as  he  had  indicated,  thirty-six  categories 
which  I  had  to  formulate  in  order  to  distribute  fitly 
among  them  the  innumerable  dramas  awaiting  classi- 
fication. There  is,  I  hasten  to  say,  nothing  mystic  or 
cabalistic  about  this  particular  number;  it  might  per- 
haps be  possible  to  choose  one  a  trifle  higher  or  lower, 
but  this  one  I  consider  the  most  accurate. 

Xow,  to  this  declared  fact  that  there  are  no  more 
than  thirty-six  dramatic*  situations,  is  attached  a  singu- 
lar corollary,  the  discovery  that  there  are  in  life  but 
thirty-six  emotions.  A  maximum  of  thirty-six  emo- 
tions, --and  therein  we  have  all  the  savor  of  existence; 
there  we  have  the  unceasing  ebb  and  flow  which  fills 
human  history  like  tides  of  the  sea;  which  is,  indeed,  the 
very  substance  of  history,  since  it  is  the  substance  of 
humanity  itself,  in  the  shades  of  African  forests  as  Unter 
den  Linden  or  beneath  the  electric  lights  of  the  Boule- 
vards; as  it  was  in  the  ages  of  man's  hand-to-hand 
Btruggle  with  the  wild  beasts  of  wood  and  mountain, 
and  as  it  will  be,  indubitably,  in  the  most  infinitely  dis- 
tant future,  since  it  is  with  these  thirty-six  emotions 
no  more  that  we  color,  nay,  we  comprehend,  cosmic 
mechanism,  and  since  it  is  from  them  that  our  theogonies 
and  our  metaphysics  are,  and  ever  will  be,  constructed; 
all  our  dear  and  fanciful  "beyonds;"  -thirty-six  situ- 
ations, thirty-six  emotions,  and  no  more 

It  is,  then,  comprehensible  thai  in  viewing  upon  the 
stage  the  ceaseless  mingling  of  these  thirty-six  emo- 
tions, a  race  or  nation  arrives  at  the  beginning  of  its 
definite  Belf -consciousness;  the  Greeks,  indeed,  began 
their  towns  by  laying  the  foundations  of  a  theater.  It 
is  equally  natural  thai   only  the  greatest   ami   most   com- 

•I  have  replaced  tin'  word  "tragic,"  used  in  tin-  quotation,  with 
"dramatic."    Those  familiar  with   Goethe  know  that    for  him 

one    of    the    "classic"    (icrmans        the    two    terms    wrrc   synonymous 

m  this  passage, 


10  THIRTY-SIX  DRAMATIC  SITUATIONS 

plete  civilizations  should  have  evolved  t*heir  own  partic- 
ular conception  of  the  drama,  and  that  one  of  these 
new  conceptions  should  be  revealed  by  each  new  evolu- 
tion of  society,  whence  arises  the  dim  but  faithful  expec- 
tation of  our  own  age,  waiting  for  the  manifestation  of 
its  own  dramatic  ideals,  before  the  cenotaphs  of  an  art 
which  has  long  been,  apparently  for  commercial  reasons, 
almost  non-existent. 

In  fine,  after  having  brought  together  all  these  dra- 
matic "points  of  view,"  we  shall  see,  as  in  a  panorama, 
the  great  procession  of  our  race,  in  characteristic  motley 
costumes:-  Hindu  kings  in  their  chariots,  Chinese 
gallants  playing  their  mandores,  nude  heroes  of  Hellas, 
legendary  knights,  adventurers  of  sword  and  cape, 
golden-tressed  princesses,  nymphs  sparkling  with  gems, 
shy  maids  with  drooping  eyelashes,  famed  courtesans, 
chaste  Athenian  virgins,  priestly  confessors,  chattering 
gossips,  gurus  expounding  religious  ideas,  satyrs  leaping 
upon  goats'  feet,  ugly  slaves,  peris,  horned  devils  in  dis- 
guise, lisping  Tartaglias,  garrulous  Graciosos,  Shake- 
spearean clowns,  Hugoesque  buffoons,  magistrates,  immo- 
bile Buddhist  ascetics,  white-robed  sacrificers,  martyrs 
with  shining  aureoles,  too-crafty  Ulysses,  frightful 
Rakchasas,  messengers  dispersing  calamitous  tidings  to 
the  winds  of  heaven,  pure-hearted  youths,  blood-stained 
madmen,  -  yes,  here  it  assembles,  our  humanity,  here 
it  moves  through  its  periods  of  greatest  intensity  —  but 
presenting  always  one  of  the  facets  of  the  prism  pos- 
sessed by  Gozzi. 

These  thirty-six  facets,  which  I  have  undertaken  to 
recover,  should  obviously  be  simple  and  clean,  and  of 
no  far-fetched  character;  of  this  we  shall  be  convinced 
after  seeing  them  repeated,  with  unfailing  distinctness, 
in  all  epochs  and  in  all  genres.  The  reader  will  find,  in 
my  brief  exposition,  but  twelve  hundred  examples  cited, 
of  which  about  a  thousand  are  taken  from  the  stage; 
but  in  this  number  I  have  included  works  the  most 
dissimilar  and  the  most  celebrated,  nearly  all  others 
being  but  mosaics  of  these.  There  will  here  be  found 
the  principal  dramas  of  China,  of  India,  of  Judea,  and, 
rued  less  to  say,  of  the  Greek  theater.     However,  instead 


INTRODUCTION  11 

of  confining  ourselves  to  the  thirty-two  classic  tragedies 
we  shall  make  use  of  those  works  of  Hellenism  which, 
unfortunately  for  the  indolent  public  of  today,  still  lie 
buried  in  Latin;  works  from  whose  great  lines  might  be 
reconstructed  hundreds  of  masterpieces,  and  all  offering 
us,  from  the  shades  to  which  we  have  relegated  them,  the 
freshness  of  unfamiliar  beauty.  Leaving  aside,  for  the 
present,  any  detailed  consideration  of  the  Persian  and 
mediaeval  Mysteries,  which  depend  almost  without 
exception  upon  two  or  three  situations,  and  which  await 
a  special  study,  we  shall  glance  over, --after  the  Jeux 
and  Miracles  of  the  thirteenth  and  fourteenth  centuries, 
-  the  Spanish  authors,  the  French  classics,  the  Italians, 
the  Germans  of  the  Romantic  revival,  and  our  modern 
dramatic  literature.  And  it  seems  to  me  we  shall  have 
finally  proved  this  theory  of  the  Thirty-six  Situations, 
when  we  shall  thus  have  brought  it  into  contact  with 
the  dramatic  production  of  the  last  thirty  years. 

Two  hundred  of  the  examples  cited  have  been  taken 
from  other  literary  genres  akin  to  the  dramatic:  romance, 
•  ■pic,  history,  -and  from  reality.  For  this  investiga- 
tion can  and  should  be  pursued  in  human  nature,  by  which 

I  mean  in  politics,  in  courts  of  justice,  in  daily  life.  Amid 
these  explorations  the  present  study  will  soon  seem  lint 
an  introduction  to  a  marvelous,  an  inexhaustible  stream, 
the  Stream  of  Existence,  where  meet  momentarily, 
in  their  primordial  unity,  history,  mystic  poetry,  moralist 

and  amoralisl  writings,  humor,  psychology,  law,  epic, 
romance,  table,  myth,  proverb  and  prophecy. 

It  may  here  be  allowable  to  ask,  with  our  theory  in 
mind,  a  number  of  questions  which  to  us  are  of  primary 

importance. 

Which  are  the  dramatic  situations  neglected  by  our 
n  epoch,  so  faithful  in  repeating  the  few  most  familiar? 
Which,  on  the  other  hand,  are  mosl  in  use  today?  Which 
are  the  mo  I  neglected,  and  which  the  most  used,  in  each 
epoch,  genre,  Bchool,  author?  Whal  are  the  reasons 
for  these  preference  The  same  questions  may  be 
asked  before  the  classes  :m<l  sub-cl;  if  the  situations. 


12  THIRTY-SIX  DRAMATIC  SITUATIONS 

Such  an  examination,  which  requires  only  patience, 
will  show  first  the  list  of  combinations  (situations  and 
their  classes  and  sub-classes)  at  present  ignored,  and 
which  remain  to  be  exploited  in  contemporaneous  art, 
second,  how  these  may  be  adapted.  On  the  way  it  may 
chance  that  we  shall  discern,  hidden  within  this  or  that 
one  of  our  thirty-six  categories,  a  unique  case,  -  -  one 
without  analogue  among  the  other  thirty-five,  with  no 
immediate  relationship  to  any  other,  the  product  of  a 
vigorous  inspiration.  But,  in  carefully  determining  the 
exact  position  of  this  case  among  the  sub-classes  of  the 
situation  to  which  it  belongs,  we  shall  be  able  to  form, 
in  each  of  the  thirty-five  others,  a  sub-class  correspond- 
ing to  it;  thus  will  be  created  thirty-five  absolutely  new 
plots.  These  will  give,  when  developed  according  to 
the  taste  of  this  or  that  school  or  period,  a  series  of 
thirty-five  "original  imitations,"  thirty-five  new  scenarios, 
of  a  more  unforeseen  character,  certainly,  than  the 
majority  of  our  dramas,  which,  whether  inspired  by 
books  or  realities,  when  viewed  in  the  clear  light  of  the 
ancient  writings  revealed  to  us  only  their  reflections,  so 
long  as  we  had  not,  for  our  guidance,  the  precious  thread 
which  vanished  with  Gozzi. 

Since  we  now  hold  this  thread,  let  us  unwind  it. 


FIRST  SITUATION 

SUPPLICATION 

(The  dynamic  elements  technically  necessary  are:  — 
a  Persecutor,  a  Suppliant  and  a  Power  in  authority, 
whose  decision  is  doubtful.) 

Among  the  examples  here  offered  will  be  found  those 
of  three  slightly  differing  classes.  In  the  first,  the  power 
whose  decision  is  awaited  is  a  distinct  personage,  who  is 
deliberating;  shall  he  yield,  from  motives  of  prudence  or 
from  apprehension  for  those  he  loves,  to  the  menaces 
of  the  persecutor,  or  rather,  from  generosity,  to  the 
appeal  of  the  persecuted?  In  the  second,  by  means  of 
a  contraction  analogous  to  that  which  abbreviates  a 
syllogism*  to  an  enthymeme,*  this  undecided  power  is 
but  an  attribute  of  the  persecutor  himself,-  a  weapon 
suspended  in  his  hand;  shall  anger  or  pity  determine  his 
course?  In  the  third  tfroup,  on  the  contrary,  the  sup- 
pliant element  is  divided  between  two  persons,  the 
Persecuted  and  the  Intercessor,  thus  increasing  the 
number  of  principal  characters  to  four. 

These  three  groups  (A,  B,  C)  may  be  subdivided  as 
follow 

A     1  Fugitives  Imploring  the  Powerful  for  Help 

Against  Their  Enemies.        Complete  examples:     "The 

Suppliants"  and  "The  Heraclidae*'  of  Aeschylus;  "The 

rleraclidae"   of    Euripides;   the   "Minos"   of   Sophocles. 

les  in  which   the  fugitives  are  guilty:  the  "Oicles" 

•Syllogism:  A  reckoning  all  together,  a  reasoning;  to  bring 
at  'Mice  before  the  mind;  to  infer;  conclude.  As  "Every  virtue 
i-  laudable;  kindness  is  a  virtue;  therefore  kindness  is  laudable." 

Enthymeme  An  argument  consisting  of  only  two  propositions; 
an  antecedent  and  its  consequent;  a  syllogism  with  one  premise 
omitted;  a    "W<   are  dependent,  therefore  we  should  be  humble." 

18 


11  THIRTY-SIX   DRAMATIC  SITUATIONS 

and  "Chryses"  of  Sophocles;  "The  Eumenides"  of 
Aeschylus.  A  partial  example:  Act  II  of  Shakespeare's 
"King  John."  Familiar  instances:  scenes  from  colonial 
protectorates. 

(2)  -Assistance  Implored  for  the  Performance  of 
a  Pious  Duty  Which  Has  Been  Forbidden.  --  Com- 
plete   examples:     'The    Eleusinians"    of    Aeschylus    and 

'The  Suppliants"  of  Euripides.  A  historical  example: 
the  burial  of  Moliere.  A  familiar  instance:  a  family 
divided  in  its  religious  belief,  wherein  a  child,  in  order 
to  worship  according  to  his  conscience,  appeals  to  the 
parent  who  is  his  co-religionist. 

(3)  -  -  Appeals  for  a  Refuge  in  Which  to  Die.  - 

Complete  example:  "(Edipus  at  Colonus."  Partial  ex- 
ample: the  death  of  Zineb,  in  Hugo's  "Mangeront-ils?" 

B  (1)  -  -  Hospitality  Besought  by  the  Shipwrecked. 

-Complete  example:  "Nausicaa"  and  "The  Pheacians" 
of  Sophocles.  Partial  example:  Act  I  of  Berlioz' 
"Trojans." 

(2)  -Charity  Entreated  by  Those  Cast  off  by 
Their  Own  People,  Whom  They  Have  Disgraced.  - 

Examples:  the  "Danae"  of  Aeschylus  and  the  "Danae" 
of  Euripides;  the  "Alope,"  "Auge"  and  "The  Cretans" 
of  Euripides.  Familiar  instances:  a  large  part  of  the 
fifteen  or  twenty  thousand  adventures  which,  each 
year,  come  to  an  end  in  the  Bureau  des  Enf ants- Assisted. 
Special  instance  of  a  child  received  into  a  home:  the 
beginning  of  "Le  Reve,"  by  Zola. 

-Expiation:  The  Seeking  of  Pardon,  Healing 
or  Deliverance.  --  Examples:  Sophocles'  "Philoctetes;" 
Aeschylus'  "Mysians;"  Euripides'  "Telephus;"  "Les 
Champairol"  (Rraisse,  1884).  Historical  example:  the 
penitence  of  Barbarossa.  Familiar  instances:  petitions 
for  pardon,  confession  of  Catholics,  etc. 

The  Surrender  of  a  Corpse,  or  of  a  Relic, 
Solicited :  -  "The  Phrygians"  of  Aeschylus.  Histori- 
cal examples:  the  Crusaders'  embassies  to  the  Moslems. 
Familiar  instances:  the  reclaiming  of  the  remains  of 
a  great  man  buried  in  a  foreign  land;  of  the  body  of 
an  executed  person,  or  of  a  relative  dead  in  a  hospital. 


FIRST  SITUATION  15 

It  should  be  noted  that  the  "Phrygians,"  and  the  Twenty- 
fourth  Book  of  the  Iliad,  which  inspired  the  play,  form 
a  transition  toward  the  Twelfth  Situation  (A  Refusal 
Overcome  I . 

C  (1)  —  Supplication  of  the  Powerful  for  Those 
Dear  to  the  Suppliant.  -Complete  example:  Esther. 
Partial  example:  Margaret  in  the  denouement  of  "Faust." 
Historical  example:  Franklin  at  the  court  of  Louis  XVI. 
Example  corresponding  also  to  A  (3):  the  "Propompes" 
of  Aeschylus. 

(2)  -Supplication  To  a  Relative  in  Behalf  of 
Another  Relative.  --  Example:  the  "Eurysaces"  of 
Sophocles. 

(3)  -  -  Supplication  to  a  Mother's  Lover,  in  Her 
Behalf.  -Example:  "L'Enfant  de  l'Amour"  (Bataille, 
1911). 

It  is  apparent  that,  in  the  modern  theater,  very  little 
use  has  been  made  of  this  First  Situation.  If  we  ex- 
cept subdivisions  C  (1),  which  is  akin  to  the  poetic 
cult  of  the  Virgin  and  the  Saints,  and  C  (3),  there  is 
not  a  single  pure  example,  doubtless  for  the  reason  that 
the  antique  models  have  disappeared  or  have  become 
unfamiliar,  and  more  particularly  because,  Shakespeare, 
Lope  and  Corneille  not  having  transformed  this  theme 
or  elaborated  it  with  those  external  complexities  de- 
manded by  our  modern  taste,  their  successors  have 
found  ih<-  First  Situation  too  bare  and  simple  a  subject 
for  this  epoch.  As  if  one  idea  were  necessarily  more 
simple  than  another!  as  if  all  those  which  have  since 
launched  upon  our  stage  their  countless  ramifications 
had  noi  in  the  beginning  shown  the  same  vigorous 
simplicity! 

It  is,  however,  our  modern  predilection  for  the  com- 
plex which,  to  my  mind,  explains  the  favor  now  accorded 
to  group  C  alone,  wherein  by  easy  means  a  fourth  figure 
i  in   essence,    unfortunately,  a   somewhat    parasitic   and 

monotonous  one  ,  the  Intercessor,  is  added  to  the  trinity 

of  Persecutor,  Suppliant  and  Power. 

Of  what    variety,   nevertheless,   is  this  trinity   capable! 

The  Persecutor,  one  or  many,  voluntary  or  uncon- 
scious, greedy  or  revengeful,  spreading   the  subtle   net- 


16  THIRTY-SIX  DRAMATIC  SITUATIONS 

work  of  diplomacy,  or  revealing  himself  beneath  the 
formidable  pomp  of  the  greatest  contemporary  powers; 
the  Suppliant,  artless  or  eloquent,  virtuous  or  guilty, 
humble  or  great;  and  the  Power,  neutral  or  partial  to 
one  side  or  the  other,  perhaps  inferior  in  strength  to 
the  Persecutor  and  surrounded  by  his  own  kindred  who 
fear  danger,  perhaps  deceived  by  a  semblance  of  right 
and  justice,  perhaps  obliged  to  sacrifice  a  high  ideal; 
sometimes  severely  logical,  sometimes  emotionally  sus- 
ceptible, or  even  overcome  by  a  conversion  a  la  Dos- 
toievsky, and,  as  a  final  thunderbolt,  abandoning  the 
errors  which  he  believed  to  be  truth,  if  not  indeed  the 
truth  which  he  believed  to  be  error! 

Nowhere,  certainly,  can  the  vicissitudes  of  power,  be 
it  arbitral,  tyrannical,  or  overthrown,  --  the  supersti- 
tions which  may  accompany  doubt  and  indecision,  —  on 
the  one  side  the  sudden  turns  of  popular  opinion,  on 
the  other  the  anxiety  with  which  they  are  awaited,  - 
despairs  and  their  resulting  blasphemies,  -  -  hope  sur- 
viving to  the  last  breath,  -  -  the  blind  brutality  of  fate,  - 
nowhere  can  they  become  so  condensed  and  burst  forth 
with  such  power  as  in  this  First  Situation,  in  our  day 
ignored. 

France's  enthusiastic  sympathy  for  Poland,  revived 
during  the  last  half-century;  the  same  sympathy  which 
on  so  many  historic  occasions  she  has  manifested  for 
Scotland  and  for  Ireland,  might  here  find  tragic  expres- 
sion; that  cry  of  humanity  with  which  a  single  priest,  at 
the  massacre  of  Fourmies,  rallied  to  the  Church  a  frac- 
tion of  revolutionary  France;  the  worship  of  the  dead, 
that  first,  last,  most  primitive  and  most  indestructible 
form  of  religious  sentiment;  the  agony  which  awaits  us 
all,  agony  dragging  itself  toward  the  darkness  like  a 
spent  beast;  the  profoundly  humble  longing  of  one  whom 
a  murder  has  deprived  of  all  that  was  dearest  to  him, 
that  pitiable  entreaty,  on  bended  knees,  which  melted 
into  tears  the  savage  rancor  of  Achilles  and  caused  him 
to  forget  his  vow;  --  all  are  here  in  this  First  Situation, 
all  these  strong  emotions,  and  yet  others;  nowhere  else, 
indeed,  can  they  be  found  in  such  completeness,  —  and 
our  modern  world  of  art  has  forgotten  this  situation! 


SECOND  SITUATION 

DELIVERANCE 

(Elements:  an   Unfortunate,  a  Threatener,   a    Rescuer) 

This  is,  in  a  way,  the  converse  of  the  First  Situation, 
in  which  the  unfortunate  appeals  to  an  undecided  power, 
whereas  here  an  unexpected  protector,  of  his  own  accord, 
comes  suddenly  to  the  rescue  of  the  distressed  and 
despairing. 

A  -  -  Appearance  of  a  Rescuer  to  the  Condemned: 

The  'Andromedas"  of  Sophocles,  of  Euripides  and  of 
Corneille;  "Le  Jeu  de  Saint  Nicolas"  (Jean  Bodel). 
Partial  examples:  the  first  act  of  "Lohengrin;"  the  third 
act  of  Voltaire's  "Tancred;"  the  role  of  the  generous 
patron  in  "Boislaurier"  (Richard,  1884).  The  last 
example  and  the  following  show  particularly  the  honor 
of  the  unfortunate  at  stake:  Daniel  and  Susanna,  and 
various  exploits  of  chivalry.  A  parody:  "Don  Quixote." 
A  familiar  instance:  judicial  assistance.  The  denouement 
of  "Bluebeard"  (here  the  element  of  kinship  enters,  in 
the  defense  by  brothers  of  their  sister,  and  increases  the 
pathos  by  the  most  simple  of  means,  forgotten,  however, 
by  our  playwrights). 

B  (1)  -  A  Parent  Replaced  Upon  a  Throne  by  his 
Children:  "Aegeus"  and  "Peleus,"  by  Sophocles; 
Euripides'  "Antiope."  Cases  in  which  the  children  have 
previously  been  abandoned  arc  "Athamas  I"  and  also 
the  "Tyro"  of  Sophocles.  (The  taste  of  the  future 
author  of  "(Edipufl  at  Colonus"  for  stories  in  which 
the  Child  plays  the  role  of  deliverer  and  dispenser  of 
justice,  forma  a  bitter  enough  contrast  to  the  fate  which 
awaited  the  poet  himself  in  his  old  age.) 

(2)  Rescue  by  Friends,  or  by  Strangers  Grateful 
for    Benefits    or    Hospitality:       Sophocles'    "(Eneus," 

17 


18  THIRTY-SIX  DRAMATIC  SITUATIONS 

"Iolas"  and  "Phineus."  A  partial  example:  the  second 
part  of  Euripides'  "Alceste."  Example  in  comedy: 
Musset's  "Fantasio."  Example  in  which  protection  is 
accorded  by  the  host  who  has  granted  asylum:  Euripides' 
"Dictys."  ' 

We  see,  by  a  glance  over  these  subdivisions,  what  our 
writers  might  have  drawn  from  the  second  of  the  Situ- 
ations. For  us,  indeed,  it  should  possess  some  little 
attraction,  if  only  for  the  reason  that  two  thousand 
years  ago  humanity  once  more  listened  to  this  story 
of  the  Deliverer,  and  since  then  has  so  suffered,  loved 
and  wept  for  the  sake  of  it.  This  situation  is  also  the 
basis  of  Chivalry,  that  original  and  individual  heroism 
of  the  Middle  Ages;  and,  in  a  national  sense,  of  the 
French  Revolution.  Despite  all  this,  in  art,  —  if  we 
except  the  burlesque  of  Cervantes,  and  the  transplendent 
light  flashing  from  the  silver  armor  of  Lohengrin,  —  in 
art,  as  yet,  it  is  hardly  dreamed  of. 


THIRD  SITUATION 
CRIME  PURSUED  BY  VENGEANCE 

(Elements:  an  Avenger  and  a  Criminal) 

Vengeance  is  a  joy  divine,  says  the  Arab;  and  such 
indeed  it  seems  to  have  frequently  been,  to  the  God  of 
Israel.  The  two  Homeric  poems  both  end  with  an 
intoxicating  vengeance,  as  does  the  characteristic  Orien- 
tal legend  of  the  Pandavas;  while  to  the  Latin  and 
Spanish  races  the  most  satisfying  of  spectacles  is  still 
that  of  an  individual  capable  of  executing  a  legitimate, 
although  illegal,  justice.  So  much  goes  to  prove  that 
even  twenty  centuries  of  Christianity,  following  five 
centuries  of  Socratic  philosophy,  have  not  sufficed  to 
remove  Vengeance  from  its  pedestal  of  honor,  and  to  sub- 
stitute thereon  Pardon.  And  Pardon  itself,  even  though 
sincere,  -  what  is  it  but  the  subtile  quintessence  of 
vengeance  upon  earth,  and  at  the  same  time  the  claim- 
ing of  a  Borl  of  wergild  from  Heaven? 

A  1  The  Avenging  of  a  Slain  Parent  or  Ances- 
tor: "The  Singer,"  an  anonymous  Chinese  drama; 
'The  Tunic  Confronted"  (of  the  courtesan  Tchang- 
koue-pin);     'The    Arrives"    and     "The    Epigones"    of 

Aeschylus;  Sophocles'  "Aletes  and  Krigone;"  "The 
Two  Foscari,"  by  Byron;  Werner's  "Attila;"  "Le  Crime 
de  Maison-Alfort"  (Coedes,  L881);  "Le  Maquignon" 
(Josz  and   Dumur,   l!»o:{i.     in  the  last   three  cases,  as 

well  as  in  the  following  one,  the  vengeance  is  accom- 
plished  not    by  a  son,   but    by  a  daughter.     Example 


20  THIRTY-SIX  DRAMATIC  SITUATIONS 

from  fiction:  Merimee's  "Colomba."  Familiar  instances: 
the  majority  of  vendettas.  "Le  Pretre"  (Buet,  1881) 
presents  especially  the  psychologic  struggle  between 
pardon  and  vengeance.  Example  of  the  avenging  of 
a  father  driven  to  suicide:  "L'Or"  (Peter  and  Danceny, 
1908). 

(2)  The  Avenging  of  a  Slain  Child  or  Descen- 
dant: --  Sophocles'  "Nauplius;"  a  part  of  "Sainte- 
Helene"  (Mme.  Severine,  1902);  the  end  of  Euripides' 
"Hecuba."  Epic  example:  Neptune's  pursuit  of  Ulysses 
because  of  the  blinding  of  Polyphemus. 

(3)  -    Vengeance   for   a   Child    Dishonored:  —  "El 

Mejor  Alcalde  el  Rey,"  by  Lope  de  Vega;  "The  Alcalde  of 
Zalamea,"  by  Calderon.  Historic  example:  the  death 
of  Lucrece. 

(4)  -    The  Avenging  of  a  Slain  Wife  or  Husband: 
-Carneille's    "Pompee;"    "L'Idiot"    (de    Lorde,    1903). 

Contemporary  instance:  the  trials  of  Mme.  Veuve 
Barreme. 

(5)  —  Vengeance  for  the  Dishonor,  or  Attempted 
Dishonoring,  of  a  Wife:  The  "Ixion  "  of  Aeschylus, 
of  Sophocles  and  of  Euripides;  "The  Perrhoebides"  of 
Aeschylus;  "Les  Revolted"  (Cain  and  Adenis,  1908). 
Historic  example:  the  priest  of  Ephraim.  Similar  cases, 
in  which  the  wife  has  only  been  insulted:  "Venisamhara," 
by  Bhatta  Narayana;  "The  Sons  of  Pandou,"  by  Rajasek- 
hara.     Familiar  instances:  a  large  number  of  duels. 

(6)  -  Vengeance  for  a  Mistress  Slain:-  "Love 
after  Death,"  by  Caleron;  "Amhra"  (Grangeneuve, 
1882);  "Simon  the  Foundling"  (Jonathan,  1882). 

(7)  -    Vengeance  for  a  Slain  or  Injured  Friend:  - 

"The  Nereids"  of  Aeschylus.  A  contemporary  instance: 
Ravachol.  Case  in  which  the  vengeance  is  perpetrated 
upon  the  mistress  of  the  avenger:  "La  Casserole" 
(M&enier,  1889). 

(8)  -  Vengeance  for  a  Sister  Seduced:  --  Goethe's 
"Clavijo;"  "Les  Bouchers"  (Icres,  1888);  "La  Casquette 
au  Pere  Bugeaud"  (Marot,  1886).  Examples  from 
fiction:  "La  Kermesse  Rouge,"  in  Eekhoud's  collec- 
tion, and  the  end  of  Bourget's  "Disciple." 


THIRD  SITUATION  21 

B  (1)  -  -  Vengeance  for  Intentional  Injury  or  Spo- 
liation: —  Shakespeare's  "Tempest."  Contemporary  in- 
stance: Bismarck  in  his  retirement  at  Varzin. 

(2)  -  -  Vengeance  for  Having  Been  Despoiled  Dur- 
ing Absence:  --  "Les  Joueurs  d'Osselets"  and  "Pene- 
lope," by  Aeschylus;  "The  Feast  of  the  Achaeans,"  by 
Sophocles. 

(3)  Revenge  for  an  Attempted  Slaying:  --"The 
Anger  of  Te-oun-go,"  by  Kouan-han-king.  A  similar 
case  involving  at  the  same  time  the  saving  of  a  loved 
one  by  a  judicial  error:  "La  Cellule  No.  7"  (Zaccone, 
1881). 

(4)  -  -  Revenge  for  a  False  Accusation:  The 
"Phrixus"  of  Sophocles  and  of  Euripides;  Dumas' 
"Monte-Cristo;"  "La  Declassee"  (Delahaye,  1883); 
"Roger-la-Honte"  (Mary,  1881). 

(5)  -  Vengeance  for  Violation: — Sophocles' 
"Tereus;"  "The  Courtesan  of  Corinth"  (Carre"  and 
Bilhaud,  1908);  "The  Cenci,"  by  Shelley  (parricide  as 
the  punishment  of  incest). 

(6)  Vengeance  for  Having  Been  Robbed  of  Ones 
Own :  -  "The  Merchant  of  Venice,"  and  partly  "William 
Tell." 

i         Revenge  Upon  a  Whole  Sex  for  a  Deception 

by  One:-     ".luck  the  Ripper"  (Bertrand  and  Clairian, 

the    fatal    heroines   of   the   typical    plays   of   the 

tond  Empire,  "L'Etrangere,"  etc.  A  ease  appertain- 
ing also  to  class  A:  the  motive  (an  improbable  one)  of 
the  corruptress  in  "Poss^de*,"  by  Lemonnier. 

We  here  encounter  for  the  first  time  that  grimacing 
personage  who  forms  the  keystone  of  all  drama  dark 
and  mysterious,  the  "villain."  About  the  beginning 
of  our  Third  Situation  we  mighl  evoke  him  at  every 
Btep,  this  villain  and  his  profound  schemes  which  not 
infrequently    make    us    smile.      Don    Salluste    in    "liuy- 

I'.la.-,"  [ago  in  "Othello,"  Guanhumara  in  "Burgraves," 
Homodei  in  "Angelo,"  Mahomet  in  the  tragedy  of  thai 
name.  Leontine  in  "Heraclius,"  Maxime  in  "La  Tragedie 
de  Yalentinien,"   Emire  in  "Siroes,"   Ulysses  in  "Pala- 

medes." 


22  THIRTY-SIX  DRAMATIC  SITUATIONS 

C  —  Professional  Pursuit  of  Criminals  (the  coun- 
terpart of  which  will  be  found  in  the  Fifth  Situation, 
Class  A):  -  -  "Sherlock  Holmes"  (Conan  Doyle);  "Vidocq" 
(Bergerat,  1910);  "Nick  Carter"  (Busson  and  Livet, 
1910). 

Frequently  used  though  this  situation  has  been  in 
our  day,  many  an  ancient  case  awaits  its  rejuvenes- 
cence, many  a  gap  is  yet  to  be  filled.  Indeed,  among 
the  bonds  which  may  unite  avenger  and  victim,  more 
than  one  degree  of  relationship  has  been  omitted,  as 
well  as  the  majority  of  social  and  business  ties.  The 
list  of  wrongs  which  might  provoke  reprisal  is  far  from 
being  exhausted,  as  we  may  assure  ourselves  by  enum- 
erating the  kinds  of  offenses  possible  against  persons 
or  property,  the  varying  shades  of  opinion  of  opposing 
parties,  the  different  ways  in  which  an  insult  may  take 
effect,  and  how  many  and  what  sort  of  relationships 
may  exist  between  Avenger  and  Criminal.  And  these 
questions  concern  merely  the  premises  of  the  action. 

To  this  we  may  add  all  the  turns  and  bearings,  slow 
or  instantaneous,  direct  or  tortuous,  frantic  or  sure, 
which  punishment  can  take,  the  thousand  resources 
which  it  offers,  the  points  at  which  it  may  aim  in  its 
deadly  course,  the  obstacles  which  chance  or  the  defen- 
dant may  present.  Next  introduce  various  secondary 
figures,  each  pursuing  his  own  aims,  as  in  life,  intercross- 
ing each  other  and  crossing  the  drama  -and  I  have 
sufficient  esteem  for  the  reader's  capabilities  to  develop 
the  subject  no  further. 


FOURTH  SITUATION 

VENGEANCE  TAKEN  FOR  KINDRED  UPON 

KINDRED 

(Elements:     Avenging  Kinsman;  Guilty  Kinsman; 
Remembrance  of  the  Victim,  a  Relative  of  Both.) 

Augmenting  the  horror  of  Situation  XXVII  ("Dis- 
covery of  the  Dishonor  of  Ones  Kindred")  by  the  rough 
vigor  of  Situation  III,  we  create  the  present  action, 
which  confines  itself  to  family  life,  making  of  it  a  worse 
hell  than  the  dungeon  of  Poe's  "Pit  and  the  Pendulum." 
The  horror  of  it  is  such  that  the  terrified  spectators 
dare  not  intervene;  they  seem  to  be  witnessing  at  a 
distance  some  demoniac  scene  silhouetted  in  a  flaming 
hou 

Neither,  it  seems,  do  our  dramatists  dare  intervene 

to  modify  the  Greek  tragedy,  -  sueh  as  it  is  after  thirty 
appalling  centuries. 

For  us  it  is  easy  to  compute,  from  the  height  of  our 
"platform'  to  use  (lozxi's  word  the  infinite  varia- 
tions possible  to  this  theme,  by  multiplying  the  com- 
binations which  we  have  just  found  in  the  Third  Situa- 
tion,  by   those   which    the   Twenty-seventh    will   give   us. 

Other  germs  of  fertility   will   be  found   in   turn   in   the 

circumstances    which    have    determined    the    avenger's 

action.  These  may  be  a  spontaneous  desire  on  his 
own    part      the  simplest    motive  i;   the   wish   of   the  dying 

victim,  or  of  the  spirit  of  the  dead  mysteriously  appear- 

23 


24  THIRTY-SIX  DRAMATIC  SITUATIONS 

ing  to  the  living;  an  imprudent  promise;  a  professional 
duty  (as  when  the  avenger  is  a  magistrate,  etc.);  the 
necessity  of  saving  other  relatives  or  a  beloved  one 
(thus  did  Talien  avenge  the  Dantonists)  or  even  fellow- 
citizens;  ignorance  of  the  kinship  which  exists  between 
Avenger  and  Criminal.  There  yet  remains  that  case 
in  which  the  Avenger  strikes  without  having  recog- 
nized the  Criminal  (in  a  dark  room,  I  suppose);  the 
case  in  which  the  act  of  intended  vengeance  is  but  the 
result  of  an  error,  the  supposedly  guilty  kinsman  being 
found  innocent,  and  his  pseudo-executioner  discovering 
that  he  has  but  made  of  himself  a  detestable  criminal. 

A  (1)  —  A  Father's  Death  Avenged  Upon  a  Mother; 

-"The  Choephores"  of  Aeschylus;  the  "Electras"  of 
Sophocles,  Euripides,  Attilius,  Q.  Cicero,  Pradon,  Longe- 
pierre,  Cr£billon,  Rochefort,  Ch£nier,  and  of  Guillard's 
opera;  the  "Orestes"  of  Voltaire  and  of  Alfieri;  Sophocles' 
"Epigones;"  the  "Eriphyles"  of  Sophocles  and  of  Vol- 
taire; and  lastly  "Hamlet,"  in  which  we  recognize  so 
clearly  the  method  by  which  the  poet  rejuvenates  his 
subjects,  —  by  an  almost  antithetic  change  of  char- 
acters and  of  milieu. 

(2)  —  A  Mother  Avenged  Upon  a  Father:  —  "Zoe 
Chien-Chien"  (Matthey,  1881),  in  which  the  parricide 
is  counterbalanced  by  an  incestuous  passion,  and  is 
committed  by  the  daughter,  not  by  the  son. 

B  —  A  Brother's  Death  Avenged  Upon  a  Son  (but 
without  premeditation,  this  accordingly  falling  almost 
into  the  situation  "Imprudence"):  —  Aeschylus'  "Ata- 
lanta"  and  Sophocles'  "Meleager." 

C  --  A  Father's  Death  Avenged  Upon  a  Husband: 

—  "Rosmunde"  (Rucellai). 

D  —  A  Husband's  Death  Avenged  Upon  a  Father: 

—  "Orbecche"  by  Giraldi. 

Thus,  of  twenty-two  works,  eighteen  are  in  the  same 
class,  seventeen  in  the  same  sub-class,  thirteen  upon 
the  same  subject;  —  four  classes  and  one  sub-class 
altogether.  Let  us,  for  the  moment,  amuse  ourselves 
by  counting  some  of  those  which  have  been  forgotten. 


FOURTH  SITUATION  25 

A  father's  death  avenged  upon  the  brother  of  the 
avenger.  Upon  his  sister.  Upon  his  mistress  (or,  in  the 
case  of  a  feminine  avenger,  upon  her  lover,  for  each  of 
the  cases  enumerated  has  its  double,  according  to  the 
sex  of  the  avenger).  Upon  his  wife.  Upon  his  son. 
Upon  his  daughter.  Upon  his  paternal  uncle.  Upon 
his  maternal  uncle.  Upon  his  paternal  or  maternal 
grandfather;  his  paternal  or  maternal  grandmother. 
Upon  half-brother  or  half-sister.  Upon  a  person  allied 
by  marriage  (brother-in-law,  sister-in-law,  etc.)  or  a 
cousin.  These  numerous  variations  may  of  course  be 
successively  repeated  for  each  case :  -  -  the  avenging  of  a 
brother,  a  sister,  a  husband,  a  son,  a  grandfather,  and 
so  on. 

By  way  of  variety,  the  vengeance  may  be  carried  out, 
not  upon  the  person  of  the  criminal  himself,  but  upon 
some  one  dear  to  him  (thus  Medea  and  Atreus  struck 
Jason  and  Thyestes  through  their  children),  and  even 
inanimate  objects  may  take  the  place  of  victims. 


FIFTH  SITUATION 

PURSUIT 

(Elements:     Punishment  and  Fugitive) 

As  the  Second  Situation  was  the  converse  of  the  First, 
so  this  situation  of  Pursuit  represents  a  transition  into 
the  passive  of  the  Third  and  Fourth,  and,  in  fact,  of  all 
those  in  which  danger  pursues  a  character.  There 
remains,  however,  a  distinction;  in  Pursuit  the  avenging 
elements  hold  second  place,  or  perhaps  not  even  that; 
it  may  be,  indeed,  quite  invisible  and  abstract.  Our 
interest  is  held  by  the  fugitive  alone;  sometimes  inno- 
cent, always  excusable,  for  the  fault  —  if  there  was 
one --appears  to  have  been  inevitable,  ordained;  we 
do  not  inquire  into  it  or  blame  it,  which  would  be  idle, 
but  sympathetically  suffer  the  consequences  with  our 
hero,  who,  whatever  he  may  once  have  been,  is  now  but 
a  fellow-man  in  danger.  We  recall  that  truth  which 
Goethe  once  flung  in  the  face  of  hypocrisy;  that,  each 
one  of  us  having  within  him  the  potentiality  for  all  the 
crimes,  there  is  not  one  which  it  is  impossible  to  imagine 
ourselves  committing,  under  certain  circumstances.  In 
this  Situation  we  feel  ourselves,  so  to  speak,  accom- 
plices in  even  the  worst  of  slayings.  Which  may  be 
explained  by  the  reflection  that  along  our  various  lines 
of  heredity  many  such  crimes  might  be  found,  and  our 
present  virtuousness  may  mean  simply  an  immunity 
from  criminal  tendencies  which  we  have  gained  by  the 
experience  of  our  ancestors.     If  this  be  the  case,  heredity 

26 


FIFTH  SITUATION  27 

and  environment,  far  from  being  oppressive  fatalities, 
become  the  germs  of  wisdom,  which,  satiety  being  reached, 
will  triumph.  This  is  why  genius  (not  that  of  neurosis, 
but  of  the  more  uncommon  mastery  of  neurosis)  appears 
especially  in  families  which  have  transmitted  to  it  a 
wide  experience  of  folly. 

Through  drama,  then,  we  are  enabled  to  gain  our 
experience  of  error  and  catastrophe  in  a  less  costly  way; 
by  means  of  it  we  evoke  vividly  the  innumerable  memo- 
ries which  are  sleeping  in  our  blood,  that  we  may  purify 
ourselves  of  them  by  force  of  repetition,  and  accustom 
our  dark  souls  to  their  own  reflections.  Like  music, 
it  will  in  the  end  "refine  our  manners"  and  dower  us 
with  the  power  of  self-control,  basis  of  all  virtue. 
Nothing  is  more  moral  in  effect  than  immorality  in 
literature. 

The  sense  of  isolation  which  characterizes  Situation 
V  gives  a  singular  unity  to  the  action,  and  a  clear  field 
for  psychologic  observation,  which  need  not  be  lessened 
by  diversity  of  scenes  and  events. 

A  Fugitives  From  Justice  Pursued  For  Brigan- 
dage, Political  Offenses,  Etc.:-  "Louis  Perez  of 
Galicia"  and  "Devotion  to  the  Cross,"  both  by  Calderon; 
the  beginning  of  the  mediaeval  Miracle  "Robert-le- 
Diable;"  "The  Brigands"  by  Schiller;  "Raffles"  (Hornung, 
L907).  Historical  examples:  the  proscription  of  the 
Conventionnels;  the  Duchesse  de  Berry.  Examples 
from  fiction:  "Rocambole"  by  Gaboriau;  "Arsene  Lupin" 
Leblanc).  Familiar  instances:  police  news.  Example 
in  comedy:  "Compere  le  Renard"    Polti,  L905  ■ 

B  Pursued  For  a  Fault  of  love:  Unjustly. 
"Indigne!"    Barbier,  L884);  more  justly,  Moliere's  "Don 

Juan"  and  Comeille's  "Festin  de  Pierre,"  (nol  to  speak 
of  various  works  of  Tirso  de  Molina,  Telle/.,  Yilliers, 
Sadwell,  Zamora,  Goldoni,  Grabbe,  Zorilla,  Dumas 
pei«-  ;  -. ery  justly,  "Ajax  of  Locris,"  by  Sophocles. 
Familiar  instances  run  all  the  way  from  the  forced 
marriage  of  seducers  to  arrests  for  sidewalk  flirtations. 

C       \  Hero  Struggling  V&ainsl  .1  Power:       ^eschy- 
"Prometheus    Bound;"   Sophoclt       "Laocoon;"   the 


28  THIRTY-SIX  DRAMATIC  SITUATIONS 

role  of  Porus  in  Racine's  and  also  in  Metastasio's  "Alex- 
andre;" Corneille's  "Nicomede;"  Goethe's  "Goetz  von 
Berlichingen"  and  a  part  of  "Egmont;"  Metastasio's 
"Cato;"  Manzoni's  "Adelghis"  and  a  part  of  his  "Count 
of  Carmagnola;"  the  death  of  Hector  in  Shakespeare's 
"Troilus  and  Cressida;"  "Nana-Sahib"  (Richepin,  1883); 
"Edith"  (Bois,  1885);  the  tetralogy  of  the  "Nibelungen;" 
"An  Enemy  of  the  People"  (Ibsen);  "Le  Roi  sans 
Couronne"  (de  Bouhtfier,  1909). 

D--A  Pseudo-Madman  Struggling  Against  an 
Iago-Like  Alienist: -- "La  Vicomtesse  Alice"  (Second 
1882). 


SIXTH  SITUATION 

DISASTER 

(Elements:  a   Vanquished   Power;  a   Victorious   Enemy 

or  a  Messenger) 

Fear,  catastrophe,  the  unforeseen;  a  great  reversal  of 
roles;  the  powerful  are  overthrown,  the  weak  exalted. 
Here  is  the  oft-recurring  refrain  of  the  Biblical  books, 
here  the  immortal  echoes  of  .the  fall  of  Troy,  at  which 
we  still  pale  as  though  with  a  presentiment. 

A  (1)-  Defeat  Suffered:  -"The  Myrmidons"  and 
"The  Persians"  of  Aeschylus;  "The  Shepherds"  of 
Sophocles.  Example  from  fiction:  "La  Debacle,"  by 
Zola.     History  is  made  up  of  repetitions  of  this  story. 

2  A  Fatherland  Destroyed:  The  "Xoane- 
phores"  of  Sophocles;  Byron's  "Sardanapalus"  (this 
corresponds  also  to  Class  B,  and  toward  the  denouement 
recalls  the  Fifth  Situation).  Examples  from  history: 
Poland;  the  greal  Invasions.  Prom  romance:  "The 
War  of  the  Worlds"  (Wells). 

3  The  Fall  of  Humanity:  The  Mystery  of 
"Adam"    twelfth  century  ■ 

1  \     Natural     Catastrophe:         'Terre     d'Epou- 

vante"   de  Lorde  and  Morel,  L907). 

B  A  Monarch  Overthrown  (the  converse  of  the 
Eighth):      Shakespeare's    "Henry    VI"    and    "Richard 

II."      Historic    instances:    Charle8    I,    Louis    XVI,    Napo- 
leon, etc.;  and,  substituting  other  authorities  than  kings, 

Colomb,  de  Lesseps,  and  all  disgraced  ministers.    Ex- 
amples from  fiction:  the  end  of  "Tart;irin."  "l/Ar^ent." 

"Cesar  Birotteau." 

29 


30  THIRTY-SIX   DRAMATIC  SITUATIONS 

C  (1)  Ingratitude  Suffered  (of  all  the  blows  of 
misfortune,  this  is  perhaps  the  most  poignant):- 
Euripides'  "Archelaus"  (excepting  the  denouement,  in 
which  the  action  is  reversed);  Shakespeare's  "Timon 
of  Athens"  and  "King  Lear,"  and  the  beginning  of  his 
"Coriolanus;"  Byron's  "Marino  Faliero;"  a  part  of 
'The  Count  of  Carmagnola,"  by  Manzoni.  Bismarck's 
dismissal  by  the  young  Emperor  William.  The  martyrs, 
the  many  instances  of  devotion  and  sacrifice  unappre- 
ciated by  those  who  have  benefited  by  it,  the  most 
glorious  of  deaths  shine  against  this  dark  background; 
Socrates  and  the  Passion  are  but  the  most  celebrated 
examples.     "Le  Reformateur"  (Rod,  1906). 

2  The  Suffering  of  Unjust  Punishment  or 
Enmity  (this  corresponds  in  some  degree  to  the 
"Judicial  Errors") :-- Sophocles'  "Teucer;"  Aeschylus' 
"Salaminiae." 

(3)  -An  Outrage  Suff  ered :  -  -  the  first  act  of  "The 
Cid;"  the  first  act  of  "Lucrece  Borgia."  The  "point  of 
honor"  offers  better  material  than  these  simple  episodes. 
We  may  imagine  some  more  sensitive  Voltaire,  reduced 
by  his  persecutions  to  helplessness  and  to  the  point 
of  dying  in  despair. 

D  (1)  -  -  Abandonment  by  a  Lover  or  a  Husband: 
-  "Faust;"  Corneille's  "Ariane;"  the  beginning  of  the 
"Medeas;"  "Maternite"  (Brieux,  1903). 

(2)  -  -  Children  Lost  by  Their  Parents:  -  "Le  Petit 
Poucet." 

If  classes  B,  C  and  D,  which  are  concerned  with  the 
fate  of  individuals,  have  been  so  much  less  developed 
than  they  might  easily  have  been,  what  shall  be  said 
of  the  case  of  social  disasters,  such  as  Class  A?  Shake- 
speare did  not  tread  far  enough  upon  that  majestic  way. 
Only  among  the  Greeks  has  a  work  of  this  kind  pre- 
sented at  one  stroke  that  conception  of  human  events, 
sublime,  fatalistic  and  poetic,  of  which  Herodotus  was 
one  day  to  create  history. 


SEVENTH  SITUATION 
FALLING  PREY  TO  CRUELTY  OR  MISFORTUNE 


(Elements:  an  Unfortunate;  a  Master  or  a 
Misfortune) 

To  infinite  sorrow  there  is  no  limit.  Beneath  that 
which  seems  the  final  depth  of  misfortune,  there  may 
open  another  yet  more  frightful.  A  ferocious  and 
deliberate  dissection  of  the  heart  it  seems,  this  Seventh 
Situation,    -  that  of  pessimism  par  excellence. 

A  The  Innocent  Made  the  Yictum  of  Ambitious 
Intrigue:  "The  Princess  Maleine"  (Maeterlinck  i ; 
"The  Natural  Daughter,"  by  Goethe;  "Les  Deux 
Jumeaux,"  by  Huk<>- 

B  -  The  Innocent  Despoiled  by  Those  Who  Should 
Protect:  "The  Guests  and  the  beginning  of  the 
"Joueurs  d'Osselets,"  by  Aeschylus  (al  the  firel  vibra- 
tion of  the  great  bow  in  the  hands  of  the  unknown  Beg- 
gar, what  a  breath  of  hope  we  drawl);  "Lea  Corbeaux" 
by  Becque;  "Le  Roi  de  Rome"  (Pouvillom;  "L'Aijjlon" 

Rostand  ;    "La    Croisade    des    Enfanteleta    Francs" 

ErnauH  . 

C      1  The   Powerful    Dispossessed   and  Wretched: 

The  beginning  of  Sophocles'  and  of  Euripides'  "Peleus;" 
of    "Prometheus    Bound;"    of    "Job."     Laertes    in    his 
garden.     Example  iron,  comedy:  "Le  Jeu  de  la  Feuillee" 
Adam  de  la  Halle  . 

\   Favorite  or  an   Intimate  Finds  Himself 
Forgotten :      "En  I  >&re   e"    Fevre,  L890 

81 


32  THIRTY-SIX  DRAMATIC  SITUATIONS 

D  -  The  Unfortunate  Robbed  of  Their  Only 
Hope:  "The  Blind"  by  Maeterlinck;  "Beethoven" 
(Fauchois,  1909);  "Rembrandt"  (Dumur  and  Josz). 

And  how  many  cases  yet  remain!  The  Jews  in  cap- 
tivity, slavery  in  America,  the  horrors  of  the  Hundred 
Years'  War,  invaded  ghettos,  scenes  such  as  draw  the 
crowd  to  any  reproduction  of  prison  life  or  of  Inquisition, 
the  attraction  of  Dante's  Inferno,  of  Pellico's  "Prisons," 
the  transporting  bitterness  of  Gautama,  of  Ecclesiastes, 
of  Schopenhauer! 


EIGHTH  SITUATION 
REVOLT 

(Elements:  Tyrant  and  Conspirator) 

As  already  observed,  this  situation  is,  in  a  measure, 
the  converse  of  Class  B  of  Situation  VI. 

Intrigue,  so  dear  to  the  public  of  the  past  three  cen- 
turies, is  obviously  supplied  by  the  very  nature  of  the 
subject  we  are  now  to  consider.  But,  by  some  strange 
chance,  it  has,  on  the  contrary,  always  been  treated 
with  the  most  open  candor  and  simplicity.  One  or  two 
vicissitudes,  a  few  surprises  all  too  easily  foreseen  and 
extending  uniformly  to  all  the  personages  of  the  play, 
and  there  we  have  the  conditions  which  have  almost 
invariably  been  attached  to  this  action,  so  propitious, 
nevertheless,  to  doubts,  to  equivocation,  to  a  twilight 
whose  vague  incertitude  prepares  the  dawn  of  revolt 
and  of  liberty. 

A     1  A   Conspiracy  Chiefly  of  One   Individual: 

'The  Conspiracy  "i  Fiesco,"  by  Schiller;  Corneille's 
"Cinna;"  to  some  extent  the  "Catilina"  of  Voltaire 
this  tragedy  belongs  father  to  the  Thirtieth  Situa- 
tion. "Ambition"  ;  "Thermidor;"  "The  Conspiracy  of 
General  Malet"  Auri  de  Lassus,  L889) ;  "Le  Grand 
Soir"  Kampf);  "Le  Etoi  sans  Royaume  (Decourcelle, 
L909  :  "Lorenzaccio"    Mussel  . 

_:        \  Conspiracy  of  Several:         The  Conspiracy 

of  the  Pazzi"  by  Alfieri;"  Le  Roman*  d'une  Conspiration1 

by    Fournier    and    Carre*,  after    the   story    of   Kan.   ; 


34  THIRTY-SIX  DRAMATIC  SITUATIONS 

"Madame  Margot"  (Moreau  and  Clairville,  1909);  and, 
in  comedy,  "Chantecler"  (Rostand,  1910)  with  its 
parody  "Rosse,  tant  et  plus"  (Mustiere,  1910). 

B  (1)  -  ■  Revolt  of  One  Individual,  Who  Influences 
and  Involves  Others:  --  Goethe's  "Egmont;"  "Jacques 
Bonhomme"  (Maujan,  1886);  "La  Mission  de  Jeanne 
d'Arc"  (Dalliere,  1888).  Example  from  fiction:  "Sal- 
ammbo."     From  history:  Solon  feigning  madness. 

(2)  -  -  A  Revolt  of  Many:  -  -  "Fontovejune,"  by  Lope 
de  Vega;  Schiller's  "William  Tell;"  Zola's  "Germinal;" 
"The  Weavers  of  Silesia,"  by  Hauptmann  (forbidden  in 
1893  with  the  approval  of  a  Parliament  soon  afterward 
dissolved);  "L'Automne,"  by  Paul  Adam  and  Gabriel 
Mourey  (forbidden  in  1893  with  the  approval  of  another 
Parliament  shortly  before  its  dissolution);  "L'Arm^e 
dans  la  Ville"  (Jules  Romain,  1911):  "The  Fourteenth 
of  July"  (Roland,  1902).  From  fiction:  a  part  of  the 
"Fortunes  des  Rougon"  by  Zola.  From  history;  the 
taking  of  the  Bastile,  and  numerous  disturbances  of  the 
same  period. 

This  species  of  action,  particularly  in  modern  scenes, 
has  given  fine  virile  dramas  to  England,  Spain,  Italy 
and  Germany;  of  a  forceful  and  authoritative  char- 
acter in  the  two  first  countries,  of  a  youthful  enthusi- 
astic type  in  the  two  last.  France,  most  certainly, 
would  seem  of  all  countries  the  most  likely  to  under- 
stand and  express  such  emotions. 

But.      .  "Thermidor"  was   prohibited  "for  fear" 

it  might  offend  the  friends  (centenarians  apparently) 
of  Maximilian;  "Le  Pater"  "for  fear"  it  might  be  dis- 
pleasing to  Communists;  Zola's  "Germinal"  and 
"L'Automne"  by  Adam  and  Mourey  (two  works  painted 
in  widely  different  colors,  as  the  titles  sufficiently  indi- 
cate) were  stopped  "for  fear"  of  the  objections  of  a  few 
conservatives;  "Other  People's  Money"  by  Hennique, 
"for  fear"  of  shocking  certain  financiers  who  have  since 
been  put  behind  bars;  "Lohengrin  "  (although  the  sub- 
ject is  Celtic)  was  long  forbidden  "for  fear"  of  irritating 
a  half-dozen  illiterate  French  chauvinists;  an  infinite 
number  of  other  plays  "for  fear"  of  annoying  Germany 


EIGHTH  SITUATION  35 

(or  our  parlor  diplomats  who  talk  of  it) .      .      .      .     Yet 
others  "for  fear"  of  vexing  the  Grand  Turk! 

Is  it  possible,  notwithstanding  all  this,  to  find  a  single 
instance  in  which  a  dramatic  production  has  brought 
about  a  national  calamity  such  as  our  censors  fear? 
The  pretext  is  no  more  sincere  than  are  those  urged  for 
excluding  from  the  theater  any  frank  and  truthful  repre- 
sentations of  love.  A  rule  against  admitting  children 
should  be  sufficient  to  satisfy  modesty  on  this  point; 
even  that  is  little  needed,  since  children  unaccompanied 
by  their  elders  rarely  apply  for  admission. 

Our  sentimental  bourgeoisie  apparently  holds  to  the 
eighteenth-century  opinion  that  it  is  more  dangerous 
to  listen  to  these  things  in  public  than  to  read  of  them 
in  private.  For  our  dramatic  art --which,  be  it  noted, 
has  remained,  despite  its  decline,  the  one  great  unrivalled 
means  of  propagating  French  thought  throughout 
Europe  has  been  forbidden,  little  by  little,  to  touch 
directly  upon  theology,  politics,  sociology,  upon  criminals 
or  crimes,  excepting  (and  pray  why  this  exception?) 
adultery,  upon  which  subject  our  theater,  to  its  great 
misfortune,  now  lives,  at  least  two  days  out  of  three. 

The  ancients  had  a  saying  that  a  man  enslaved  loses 
half  his  soul.     A  dramatist  is  a  man. 


NINTH  SITUATION 

DARING  ENTERPRISE 
(A  Bold  Leader;  an  Object;  an  Adversary) 

The  Conflict,  which  forms  the  framework  of  all  dra- 
matic situations,  is,  in  the  Ninth,  clearly  drawn,  undis- 
guised.    A   clever   plan,   a   bold   attempt,   sangfroid,  - 
and  victory! 

A  -  Preparations  For  War:-  (In  this  class,  as 
anciently  treated,  the  action  stops  before  the  denoue- 
ment, which  it  leaves  to  be  imagined,  in  the  perspective 
of  enthusiastic  prediction).  Examples: — Aeschylus' 
"Nemea;"  "The  Council  of  the  Argives"  by  Sophocles. 
Historic  examples:  the  call  to  the  Crusades;  the  Vol. 
unteers  of  '92. 

B   (1)  -  -  War:  --Shakespeare's  "Henry  V." 

(2)-- A  Combat:  -  "Glaucus  Pontius,"  "Memnon," 
"Phineus"  and  "The  Phorcides"  of  Aeschylus. 

C  (1)  --Carrying  Off  a  Desired  Person  or  Object: 

-the     "Prometheus"    of    Aeschylus;    the     "Laconian 

Women,"   by   Sophocles.     From   fiction:   the   taking   of 

the  Zaimph  in  "Salammbo."     Epic  example:  the  second 

Homeric  hymn  (to  Hermes). 

(2)  -  Recapture  of  a  Desired  Object:  -  "The  Vic- 
tory of  Arjuna,"  by  Cantchana  Atcharya;  Wagner's  "Par- 
sifal;" the  re-taking  of  the  Zaimph. 

D  (1)  -  -  Adventurous  Expeditions:  Lope's  "Dis- 
covery of  the  New  World;"  Aeschylus'  "Prometheus 
Unbound;"   Euripides'   "Theseus;"   Sophocles'   "Sinon;" 

36 


NINTH  SITUATION  37 

the  "Rhesus"  attributed  to  Euripides.  Examples  from 
romance:  the  usual  exploits  of  the  heroes  of  fairy  tales; 
the  Labors  of  Hercules;  the  majority  of  Jules  Verne's 
stories. 

(2)  -  Adventure  Undertaken  for  the  Purpose  of 
Obtaining  a  Beloved  Woman: -- Sophocles'  and  Euri- 
pides' "(Enomaus."  From  fiction:  "Toilers  of  the  Sea." 
For  the  purpose  of  saving  the  honor  of  a  lover:  "La 
Petite  Caporale"  (Darlay  and  de  Gorsse,  1909). 

The  Ninth  Situation  thus  summarizes  the  poetry  of 
war,  of  robbery,  of  surprise,  of  desperate  chance,  -  -  the 
poetry  of  the  clear-eyed  adventurer,  of  man  beyond  the 
restraints  of  artificial  civilizations,  of  Man  in  the  origi- 
nal acceptation  of  the  term.  We  find,  nevertheless, 
hardly  a  single  French  work  in  this  class! 

Lest  the  reader  be  wearied,  I  refrain  from  enumerat- 
ing, under  these  classes  so  lightly  touched  upon,  many 
of  the  plots  and  complications  which  might  be  evolved 
from  them.  Methods  of  tracking  the  human  game - 
bandit  or  hero,  the  forces  conspiring  for  his  disaster, 
the  conditions  which  make  him  the  victim  of  his  masters, 
the  ways  in  which  revoll  may  arise,  the  alternatives  of 
the  struggle  in  a  "daring  enterprise,"  certainly  would 
appear  to  be  mure  complex  today  than  in  earlier  ages; 
moreover,  upon  these  themes  parts  borrowed  from  other 
situation.-  may  be  engrafted  with  remarkable  ease.  Even 
if  we  desire  to  preserve  to  the  said  themes  their  archaic 

severity,  how  much  may  yet  be  drawn  from  them!  In 
how  many  waj  .  to  cite  hut  one  example,  might  an 
Adventurous  Expedition  be  changed  by  varying  the 
motives  or  the  object  of  the  enterprise,  the  nature  of 
ihe  obstacles,  the  qualities  of  the  hero,  and  the  previous 
bearings  Of  the  three  indispensable  elements  of  the 
drama!    "Adventurous    Tra  have    hardly    been 

touched  up<.n.    And  how  man}   other  classes  are  there 

which  have  not  been! 


TENTH  SITUATION 

ABDUCTION 

(The  Abductor;  the  Abducted;  the  Guardian) 

Or,  the  Great  Bourgeois  Romance!  Was  it  not  thus 
that  Moliere  used  to  put  an  end  to  his  comedies,  when 
he  judged  that  the  moment  had  arrived  for  sending 
his  audience  home  satisfied?  Sometimes  he  substi- 
tuted a  treasure-box  for  a  girl,  as  in  "Tartuffe,"  or 
arranged  an  exchange  of  the  one  for  the  other,  as  in 
"L'Avare." 

We  find  in  ABDUCTION  one  of  the  situations  bear- 
ing upon  Rivalry,  and  in  which  Jealousy  appears, 
although  not  painted  with  so  superb  a  coloring  as  in  the 
Twenty-fourth. 

In  two  of  the  following  classes  (B  and  C)  we  may 
remark  the  intrusion  of  the  situations  'Adultery"  and 
"Recovery  of  a  Lost  Loved  One."  The  same  usage  is 
quite  possible  in  almost  all  the  other  situations.  I 
would  point  out  to  those  who  may  be  interested  in  a 
more  detailed  analysis,  that  love  is  not  necessarily  the 
motive  of  Abduction  (in  Class  D  will  be  found  friend- 
ship, faith,  etc.)  nor  the  reason  of  the  obstacles  raised 
by  the  guardian. 

A  —  Abduction  of  an  Unwilling  Woman:  — 
Aeschylus'  and  Sophocles'  "Orithyies;"  Aeschylus' 
"Europa"  and  "The  Carians."  "With  Fire  and  Sword" 
(after  Sienkiewicz,  1904).  Comedy:  "Le  Jeu  de  Robin 
et  de  Marion"  (Adam  de  la  Halle).  Historic  and  legen- 
dary :  the  Sabine  women ;  Cassandra.  There  appears  to 
me  to  be  tragic  material  in  cases  of  extreme  eroticism,  of 
premeditated  violation  preceded  by  a  mania  of  passion 

38 


TENTH  SITUATION  39 

and  its  resulting  state  of  overexcitation,  and  followed 
by  the  murder  of  the  outraged  victim,  by  regrets  before 
the  beautiful  corpse,  by  the  repugnant  work  of  dis- 
memberment or  concealment  of  the  body;  then  by  a 
disgust  for  life  and  by  successive  blunders  which  lead 
to  the  discovery  of  the  criminal. 

B  -  Abduction  of  a  Consenting  Woman:  —  "The 
Abduction  of  Helen"  by  Sophocles,  and  the  comedy  of 
the  same  mane  but  not  upon  the  same  subject,  by  Lope. 
Numberless  other  comedies  and  romances. 

C  (1)  -  -  Recapture  of  the  Woman  Without  the 
Slaying  of  the  Abductor:  Euripides'  "Helen;" 
"Malati  and  Madhava,"  by  Bhavabhuti  (the  poet  "of 
voice  divine").     Rescue  of  a  sister:  "Iphigenia  in  Tauris." 

(2) -The  Same  Case,  With  the  Slaying  of  the 
Ravisher:  -  -  "Mahaviraeharita,"  by  Bhavabhuti;  "Han- 
ouman"  a  collaborative  work);  "Anarghara-ghava" 
(anonymous);  "The  Message  of  Angada,"  by  Soubhata; 
"Abhirama  Mani,"  by  Soundara  Misra;  "Hermione"  by 
Sophocles. 

D  (1)-  Rescue  of  a  Captive  Friend:-  "Richard 
Coeur-ae-Lion,"  by  Sedaine  and  (Iretry.  A  great  num- 
ber of  escapes,  historic  and  fictitious. 

2     -Of  a  Child:-    "L'Homme  de  Proie"  (Lefevre 
and  Laporte,  L908). 

Of  a  Soul  in  Captivity  to  Krror:  T.arlaam 
and  Josaphat,"  a  fourteenth-century  Miracle.  The  deeds 
of  the  Apostles,  of  missionaries,  etc. 


ELEVENTH  SITUATION 
THE  ENIGMA 

(Interrogator,  Seeker  and  Problem) 

This  situation  possesses  theatrical  interest  par  excel- 
lence, since  the  spectator,  his  curiosity  aroused  by  the 
problem,  easily  becomes  so  absorbed  as  to  fancy  it  is 
himself  who  is  actually  solving  it.  A  combat  of  the 
intelligence  with  opposing  wills,  the  Eleventh  Situa- 
tion may  be  fitly  symbolized  by  an  interrogation  point. 

A  -  Search  for  a  Person  Who  Must  be  Found  on 
Pain  of  Death:  -  Sophocles'  and  Euripides'  "Polyidus." 
Case  without  this  danger,  in  which  an  object,  not  a 
person,  is  sought:  Poe's  "Purloined  Letter." 

B  (1)  -  -  A  Riddle  to  be  Solved  on  Pain  of  Death: 

-  "The   Sphinx"  of  Aeschylus.     Example  from  fiction 
(without  the  danger):  "The  Gold  Bug"  by  Poe. 

(2)  The  Same  Case,  in  Which  the  Riddle  is  Pro- 
posed by  the  Coveted  Woman:  -  -  Partial  example:  the 
beginning  of  Shakespeare's  "Pericles."  Example  from 
fiction:  "The  Travelling  Companion,"  by  Andersen. 
Epic  example  (but  without  the  danger):  the  Queen  of 
Sheba  and  Solomon.  Partial  example:  Portia's  coffers, 
in  "The  Merchant  of  Venice." 

The  sort  of  contest,  preliminary  to  the  possession  of 
a  desired  one,  which  is  vaguely  sketched  in  this  episode, 
is  singularly  alluring  in  its  suggestive  analogues.  But 
how  many  fibres,  ready  to  thrill,  will  the  perplexities 
of  the  love  contest  find  in  us,  when  they  are  raised  to 

40 


ELEVENTH  SITUATION  41 

their  third  power  by  the  introduction  of  the  terrible, 
as  in  the  one  complete  and  pure  example  which  we 
have, --the  "Turandot"  of  the  incomparable  Gozzi;  a 
work  passionately  admired,  translated,  produced  and 
rendered  famous  in  Germany  by  Schiller;  a  work  which 
has  for  a  century  been  regarded  as  a  classic  by  all  the 
world,  although  it  remains  little  known  in  France. 

The  effect  of  B  (2)  is  strengthened  and  augmented 
in  cases  in  which  the  hero  is  subjected  to  the  following: 

C  (1  Temptations  Offered  With  the  Object  of 
Discovering  His  Name. 

Temptations  Offered  With  the  Object  of 
Ascertaining  the  Sex:  "The  Scyrian  Women"  of 
Sophocles  and  of  Euripides. 

Tests  For  the  Purpose  of  Ascertaining  the 
Mental  Condition:  "Ulysses  Purens"  of  Sophocles; 
"The  Palamedes"  of  Aeschylus  and  of  Euripides  (accord- 
ing to  the  themes  attributed  i<>  these  lost  works).  Exam- 
inations of  criminals  by  alienists. 


TWELFTH  SITUATION 

OBTAINING 

(A  Solicitor  and  an  Adversary  Who  Is  Refusing,  or 
an  Arbitrator  and  Opposing  Parties) 

Diplomacy  and  eloquence  here  come  into  play.  An 
end  is  to  be  attained,  an  object  to  be  gained.  What 
interests  may  not  be  put  at  stake,  what  weighty  argu- 
ments or  influences  removed,  what  intermediaries  or 
disguises  may  be  used  to  transform  anger  into  benevo- 
lence, rancor  into  renouncement;  to  put  the  Despoiler 
in  the  place  of  the  Despoiled?  What  mines  may  be 
sprung,  what  counter-mines  discovered !  -  -  what  unex- 
pected revolts  of  submissive  instruments!  This  dialectic 
contest  which  arises  between  reason  and  passion,  some- 
times subtile  and  persuasive,  sometimes  forceful  and 
violent,  provides  a  fine  situation,  as  natural  as  it  is 
original. 

A       Efforts  to  Obtain  an  Object  by  Ruse  or  Force: 

-  the  "Philoctetes"  of  Aeschylus,  of  Sophocles  and  of 
Euripides;  the  reclamation  of  the  Thebans  in  "CEdipus 
at  Colonus;"  "The  Minister's  Ring,"  by  Vishakadatta. 

B  -  Endeavor  by  Means  of  Persuasive  Eloquence 
Alone:  -  -  "The  Desert  Isle,"  by  Metastasio;  the  father's 
attitude  in  "Le  Fils  Naturel"  (Dumas),  to  which  Ruse 
is  soon  afterward  added;  Scene  2  of  Act  V  of  Shake- 
speare's "Coriolanus." 

C  Eloquence  With  an  Arbitrator:  —  "The  Judg- 
ment of  Arms,"  by  Aeschylus;  "Helen  Reclaimed,"  by 
Sophocles. 

42 


TWELFTH  SITUATION  43 

One  of  the  cases  unused  in  the  theater,  notwithstand- 
ing its  frequency,  is  Temptation,  already  introduced 
as  a  part  of  the  preceding  situation.  The  irritated 
adversary  is  here  the  Defiant;  the  solicitor,  now  the 
Tempter,  has  undertaken  an  unusual  negotiation,  one 
for  the  obtaining  of  an  object  which  nothing  can  per- 
suade the  owner  to  part  with;  consequently  the  aim 
must  be,  gently,  little  by  little,  to  bewilder,  charm  or 
stupefy  him.  Eternal  role  of  woman  toward  man! 
—  and  of  how  many  things  toward  the  project  of  being 
a  man!  Does  it  not  call  to  mind  the  hieratic  attitude 
of  the  Christian  toward  Satan,  as  Flaubert  has  illuminated 
it,  with  a  thousand  sparkling  lights,  in  his  "Temptation 
of  Saint  Anthony?" 


THIRTEENTH  SITUATION 

ENMITY  OF  KINSMEN 

(Elements:  a  Malevolent  Kinsman;  a  Hated  or 
Reciprocally  Hating  Kinsman) 

Antithesis,*  which  constituted  for  Hugo  the  gener- 
ative principle  of  art,  -  dramatic  art  in  particular,- 
and  which  naturally  results  from  the  idea  of  Conflict 
which  is  the  basis  of  drama,  offers  one  of  the  most  symme- 
trical of  schemes  in  these  contrasting  emotions.  "Hatred 
of  one  who  should  be  loved,"  of  which  the  worthy  pen- 
dant is  the  Twenty-Ninth,  "Love  of  one  who  should 
be  hated."  Such  confluents  necessarily  give  rise  to 
stormy  action. 

It  is  easy  to  foresee  the  following  laws: 

First:  The  more  closely  are  drawn  the  bonds  which 
unite  kinsmen  at  enmity,  the  more  savage  and  danger- 
ous their  outbursts  of  hate  are  rendered. 

Second:  When  the  hatred  is  mutual,  it  will  better 
characterize  our  Situation  than  when  it  exists  upon 
one  side  only,  in  which  case  one  of  the  relatives  becomes 
Tyrant  and  the  other  Victim,  the  ensemble  resulting 
in  Situations  V,  VII,  VIII,  XXX,  etc. 

Third:  The  great  difficulty  will  be  to  find  and  to 
represent  convincingly  an  element  of  discord  powerful 
enough  to  cause  the  breaking  of  the  strongest  human 
ties. 

*Antithesis:  An  opposition  or  contrast  of  words  or  ideas  espe- 
cially one  emphasized  by  the  positions  of  contrasting  words,  as 
when  placed  at  the  beginning  or  end  of  a  single  sentence  or  clause, 
or,  in  corresponding  positions  in  two  or  more  sentences  or  clauses. 
(Measures,  not  men.  The  prodigal  robs  his  heir;  the  miser  robs 
himself.)     Here  the  reference,  of  course,  is  to  ideas. 

44 


THIRTEENTH  SITUATION  45 

A  -  -  Hatred  of  Brothers:  (1)  -  -  One  Brother  Hated 
by  Several  (the  hatred  not  malignant':  "The  Heliades" 
of  Aeschylus  (motive,  envy);  "The  Labors  of  Jacob,"  by 
Lope  de  Vega  (motive,  filial  jealousy).  Hated  by  a 
single  brother:  The  "Phoenissae"  of  Euripides  and  of 
Seneca;  "Polynices"  by  Alfieri  (motive,  tyrannical  ava- 
rice); Byron's  "Cain"  (motive,  religious  jealousy);  "Une 
Famille  au  Temps  de  Luther"  by  Delavigne  (motive, 
religious  dissent    :  "Le  Duel"  (Lavedan,  1905). 

(2)  -  Reciprocal  Hatred :  The  "Seven  Against 
Thebes,"  by  Aeschylus,  and  "Les  Freres  Ennemis" 
by  Racine  (motive,  greed  for  power);  an  admirable 
supplementary  character  is  added  in  this  Theban  legend, 
the  Mother,  torn  between  the  sons;  "Thyestes  II"  of 
Sophocles;  "Thyestes"  of  Seneca;  the  "Pelopides"  by 
Voltaire;  "Atreus  and  Thyestes"  by  CreT>illon  (motive, 
greed  for  power,  the  important  role  being  that  of  the 
perfidious  instigator). 

Hatred  Between  Relatives  for  Reasons  of 
Self-interest:  "La  Maison  d'Argile"  Fabre,  1907). 
Example  from  fiction:  "Mon  Frere"  (Mercereau). 

B        Hatred    of    Father    and    Son:  1  Of    the 

Son  for  the  Father:  'Three  Punishments  in  One," 
by  Calderon.  Historic  example:  Louis  XI  and  Charles 
VII.    A  part  of  "La  Terre"  by  Zola  and  of  "Le  Maitre" 

lean  .(allien. 

•1  Mutual  Hatred:  "Life  is  a  Dream,"  by 
('alderon.  Historic  instance:  Jerome  and  Victor  Bona- 
parte .'i  reduction  of  hatred  to  simple  disagreement). 
This  nuance  appears  to  me  to  In-  our  of  the  finest, 
although  one  of  the  least   regarded  by  our  writers. 

Hatred  of  Daughter  for  lather:  "The 
Cenci,"  by  Shelley    parricide  8    a  means  of  escape  from 

inc.- 

Hatred    of    Grandfather    for    Grandson: 

Mc  o'       "Cym  the    story    of    Amulius    in    the 

of  Titus  Li',  in-  motive,  tyrannical  avarice  . 
Hatred  of  uncle  for  nephew:  "The  Death  oi  I  an  .<."  by 
Crichna  ( !a>  i.    One  of  the  facet    of  "Hamlet." 

D        Hatred    of    I  a t  her-in-law    for    Son-in-law : 

Aifieri's  "Agis  and  Saul"    motive,  tyrannical  avari© 


46  THIRTY-SIX  DRAMATIC  SITUATIONS 

Historical  example:  Caesar  and  Pompey.  Hatred  of 
two  brothers-in-law,  ex-rivals:  "La  Mer"  (Jean  Jullien, 
1891)  -the  only  modern  drama,  I  may  note  in  passing, 
in  which  one  finds  emotion  increasing  after  the  death 
of  the  principal  character.  In  this  respect  it  conforms 
to  reality,  in  which  we  may  experience  shock  or  alarm, 
or  cry  out  in  dread,  but  in  which  we  do  not  weep,  nor 
feel  sorrow  to  the  full,  until  afterward,  all  hope  being 
forever  ended. 

E  -  -  Hatred  of  Mother-in-law  for  Daughter-in- 
law:  --  Corneille's  "Rodogune"  (motive,  tyrannical 
avarice). 

F  -Infanticide:  -"Conte  de  Noel"  (Linant,  1899). 
A  part  of  the  "Powers  of  Darkness." 

I  will  not  repeat  the  list  of  degrees  of  relationship 
into  which  this  situation  might  be  successively  trans- 
ferred. The  case  of  hatred  between  sisters,  one  fre- 
quent enough,  will  offer, --even  after  "Le  Carnaval 
des  Enfants"  (de  Bouhelier)  -  -  an  excellent  opportunity 
for  a  study  of  feminine  enmities,  so  lasting  and  so  cruel; 
hatred  of  mother  and  daughter,  of  brother  and  sister, 
will  be  not  less  interesting;  the  same  may  be  said  for 
the  converse  of  each  class  which  has  furnished  our  ex- 
amples. May  there  not  be  an  especially  fine  dramatic 
study  in  the  deep  subject,  -  -  heretofore  so  vulgar  be- 
cause treated  by  vulgar  hands,  -  -  the  antipathy  of  the 
mother  and  the  husband  of  a  young  woman?  Does 
it  not  represent  the  natural  conflict  between  the  ideal, 
childhood,  purity,  on  the  one  hand,  and  on  the  other 
Life,  vigorous  and  fertile,  deceptive  but  irresistibly 
alluring? 

Next  the  motive  of  hatred,  changing  a  little,  may 
vary  from  the  everlasting  "love  of  power"  alleged  in 
nearly  all  extant  examples,  and,  what  is  worse,  invari- 
ably painted  in  the  strained  attitudes  of  noe-classicism.* 

The  character  of  the  common  parent,  torn  by  affec- 
tion  for  both  adversaries  in  these  struggles,  has  been 

*Neo-Classicism:  Belonging  to  or  designating  the  revival  of 
classical  taste  and  style  in  art. 


THIRTEENTH  SITUATION  47 

little  modified  since  the  day  when  Aeschylus  led  forth, 
from  the  tomb  to  which  tradition  had  consigned  her, 
his  majestic  Jocaste.  The  roles  of  two  parents  at  enmity 
could  well  be  revived  also.  And  I  find  no  one  but 
Beaumont  and  Fletcher  who  has  drawn  vigorously  the 
instigators  of  such  impious  struggles;  characters  whose 
infamy  is  sufficient  to  be  well  worthy  of  attention, 
nevertheless. 

With  the  enmities  of  kinsmen  are  naturally  connected 
the  enmities  which  spring  up  between  friends.  This 
nuance  will  be  found  in  the  following  situation. 


FOURTEENTH  SITUATION 

RIVALRY  OF  KINSMEN 

(The   Preferred    Kinsman;   the   Rejected   Kinsman;   the 

Object) 

This  situation  seems,  at  first  glance,  to  present  ten 
times  the  attraction  of  the  preceding.  Does  not  Love, 
as  well  as  Jealousy,  augment  its  effect?  Here  the  charms 
of  the  Beloved  shine  amid  the  blood  of  battles  fought 
for  her  sake.  What  startled  hesitancies,  what  per- 
plexities are  hers;  what  fears  of  avowing  a  preference, 
lest  pitiless  rage  be  unchained ! 

Yes,  the  Beloved  one,  the  "Object"  -  to  use  the  philo- 
sophic name  applied  to  her  in  the  seventeenth  century 
-  will  here  be  added  to  our  list  of  characters.  But 
.  the  Common  Parent,  even  if  he  does  not  dis- 
appear, must  lose  the  greater  part  of  his  importance; 
the  Instigators  will  pale  and  vanish  in  the  central  radiance 
of  the  fair  Object.  Doubtless  the  "love  scenes"  will 
please,  by  their  contrast  to  the  violence  of  the  play;  but 
the  dramatic  purist  may  raise  his  brows,  and  find  per- 
haps -  -  these  turtle-dove  interludes  a  trifle  colorless 
when  set  in  the  crimson  frame-work  of  fratricide. 

Furthermore,  there  persists  in  the  psychologist's 
mind  the  idea  that  Rivalry,  in  such  a  struggle,  is  no 
more  than  a  pretext,  the  mask  of  a  darker,  more  ancient 
hatred,  a  physiological  antipathy,  one  might  say,  derived 
from  the  parents.  Two  brothers,  two  near  relatives, 
do  not  proceed,  on  account  of  a  woman,  to  kill  each 
other,  unless  predisposed.  Now,  if  we  thus  reduce  the 
motive  to  a  mere  pretext,  the  Object  at  once  pales  and 
diminishes  in  importance,  and  we  find  ourselves  return- 
ing to  the  Thirteenth  Situation. 

48 


FOURTEENTH  SITUATION  49 

Is  the  Fourteenth,  then,  limited  to  but  one  class,  a 
mere  derivative  of  the  preceding?  No;  it  possesses, 
fortunately,  some  germs  of  savagery  which  permit  of 
its  development  in  several  directions.  Through  them 
it  may  trend  upon  "Murderous  Adultery,"  "Adultery 
Threatened,"  and  especially  upon  "Crimes  of  Love" 
(incests,  etc.).  Its  true  form  and  value  may  be  ascer- 
tained by  throwing  these  new  tendencies  into  relief. 

A  (1)  -  Malicious  Rivalry  of  a  Brother:  -  -  "Britan- 
nicus;"  "Les  Maucroix"  by  Delpit  (the  Common  Parent 
here  gives  place  to  a  pair  of  ex-rivals,  who  become  almost 
the  Instigators);  "Boislaurier"  (Richard,  1884).  From 
fiction:  "Pierre  et  Jean,"  by  de  Maupassant.  Case  in 
which  rivalry  is  without  hatred:  "1812"  (Nigond,  1910). 

(2)       Malicious     Rivalry     of     Two     Brothers: 
"Agathocle,"  "Don  Pedre,"  Adleaide  du  Guesclin"  and 
"Amelie,"   all   by   Voltaire,   who  dreamed   of  carving  a 
kindgom   all   his   own,    from   this   sub-class   of   a  single 
situation. 

Rivalry  of  Two  Brothers,  With  Adultery  on 
the  Part  of  One:  "Pellets  et  Melisande"  by  Maeter- 
linck. 

1  Rivalry   of   Sisters:       "La   Souris"    (Pailleron, 

7  :  "L'Enchantement"  (Bataille,  L900);  "Le  Demon 
du  Foyer"    <•.  Sand).     Of  aunt   and  niece:  "I^e  Risque" 
Coolus,  L909  . 

I'.     1  Rivalry  of  I  at  her  and  Son,  for  an  Unmar- 

ried Woman:  Metastasis  "Antigone;"  "Les  Fos- 
siles"  !•'.  de  Curel  ;  "La  Massiere"  Lemaitre,  L905); 
"La  Dette"  Trarieux.  L909);  "Papa"  de  Flera  and  de 
Caillavet,  191]  ;  Racine's  "Mithridate,"  in  which  the 
rivalry  is  triple,  between  the  father  and  each  of  the 
ons,  and  between  the  two  sons.  Partial  example:  the 
beginning  of  Dumas'  "Pere  Prodigue." 

Rivalry  <>f  Father  and  Son,  for  a  Married 

Woman:      "Le    Vieil    Homme"      Porto-Riche,    L911). 

Case  Similar  to  the  Two  Foregoing,  Bill  in 

Which  the  Object  is  Already  the  Wife  of  the  Father. 

(This  goes  beyond  adultery,  and  tea. Is  to  result   in  incest. 

but   the  purity  of  the  passion   preserves,  Tor  dramatic 
effect,   a    fine   distinction    between    this   sub-class   and 


50  THIRTY-SIX  DRAMATIC  SITUATIONS 

Situation  XXVI) :--  Euripides'  "Phenix;"  (a  concu- 
bine is  here  the  object  of  rivalry) ;  Schiller's  "Don  Carlos;" 
Alfieri's  "Philip  II." 

(4)  -  -  Rivalry  of  Mother  and  Daughter:  —  "L' Autre 
Danger"  (Donnay,  1902). 

C  Rivalry  of  Cousins:  (which  in  reality  falls  into 
the  following  class) :--  "The  Two  Noble  Kinsmen," 
by  Beaumont  and  Fletcher. 

D  —  Rivalry  of  Friends:  —  Shakespeare's  "Two  Gen- 
tlemen of  Verona;"  "Aimer  sans  Savoir  Qui"  by  Lope 
de  Vega;  Lessing's  "Damon;"  "Le  Coeur  a  ses  Raisons" 
(de  Flers  and  de  Caillavet,  1902);  "Une  Femme  Passa" 
(Coolus,  1910). 


FIFTEENTH  SITUATION 
MURDEROUS  ADULTERY 

(Elements:    Two    Adulterers;    a    Betrayed    Husband    or 

Wife) 

This,  to  my  mind,  is  the  only  strongly  appealing 
form  in  which  adultery  can  be  presented;  otherwise  is 
it  not  a  mere  species  of  house-breaking,  the  less  heroic 
in  that  the  Object  of  theft  is  an  accomplice,  and  that 
the  household  door,  already  thrown  open  by  treach- 
ery, requires  not  even  a  push  of  the  shoulder?  Whereas 
this  treachery  becomes  at  least  logical  and  endurable 
in  so  far  as  it  is  a  genuinely  sincere  folly,  impassioned 
enough  to  prefer  assassination  to  dissimulation  and  a 
base  sharing  of  love. 

A  1  The  Slaying  of  a  Husband  by,  or  for,  a 
Paramour:  The  "Agamemnons"  of  Aeschylus,  of 
Seneca  and  of  Allien;  Webster's  "Vittoria  ( 'orombona;" 
"Pierre  Pascal;"  "Les  Emigrants"  (Hirsch,  L909); 
"I/Impasse"  Fread  Amy,  L909);  "Partage  de  Midi" 
Paul  Claude]  ;  "Amour  (Leon  rlennique,  1890};  the 
mning    of    the    "Powers    of     Darkness."     Historic 

tnple,  with  pride  and  shame  as  motives  for  the  crime: 

the  legend  <>f  Gyges  and  Candaules.     From  fiction:  the 

first  part  <>f  "Therese  Raquin." 

J         The  Slaying  of  a  Trusting  I. over:        "Samson 
et  Dalila"    opera  by  Saint-Saens,  L890  , 

B        Slaying   of   a    Wife    for    a    Paramour,    and    in 

Self-interest:      Seneca's  "Octavia"  and  also  Alfieri's; 
"La  Lutte  pour  la  Vie"  by  Daudei   (in  which  cupidity 

51 


52  THIRTY-SIX   DRAMATIC  SITUATIONS 

dominates  adultery);  "The  Schism  of  Kngland"  by 
Calderon;  "Zobeide"  by  Gozzi.  Narrative  example: 
Bluebeard.     Historic:  the  murder  of  Galeswinthe. 

Hints    for   varying   and    modifying   this   situation: 

The  betrayed  husband  or  wife  may  be  either  more  or 
less  powerful,  more  or  less  sympathetic  in  character, 
than  the  slayer.  The  blindness  of  the  intended  victim 
may  be  more  or  less  complete  at  various  moments  of 
the  action;  if  it  be  dispelled,  partly  or  fully,  it  may  be 
by  chance,  by  some  imprudent  act  of  the  guilty  ones, 
by  a  warning,  etc. 

Between  the  victim  and  the  intruder,  ties  of  affec- 
tion, of  duty,  of  gratitude,  may  have  previously  existed; 
ties  very  real  to  one  or  the  other  of  the  two.  They 
may  be  relatives;  they  may  find  themselves  united 
by  some  work  or  responsibility  in  common.  The  Victim, 
whether  he  be  pursued  openly  or  secretly,  will  be,  doubt- 
less, the  object  of  an  old  rancor,  either  on  the  part  of 
the  consort  or  of  the  intruder;  the  origin  of  this  rancor 
may  be  in  any  one  of  the  imaginable  offenses  by  which 
a  human  being  is  wounded  in  his  family  affections,  his 
loves,  his  ideals,  etc.,  or  in  his  pride  of  birth,  of  name, 
of  achievement;  in  his  interests,  (money,  property, 
power,  freedom);  in  any  one  of  the  external  radiations 
of  life. 

Of  the  two  adulterers,  one  may  be  but  an  instrument 
impassioned  or  resigned,  unconscious  or  involuntary 
-  of  the  other,  and  may  later  be  rejected,  the  end  being 
attained;  the  blow  may  be  struck  by  one  of  the  two 
traitors  alone,  or  it  may  be  that  neither  of  them  has 
stained  his  own  hands  with  the  crime,  which  has  been 
committed  by  a  new  character,  perhaps  unintentionally, 
or  perhaps  from  love  of  one  of  the  two  Adulterers,  who 
has  utilized  and  directed  this  passion,  or  has  let  it  move 
of  its  own  accord  toward  the  desired  and  criminal  end. 

A  multitude  of  other  characters  will  be,  in  varying 
degrees,  the  means  employed,  the  obstacles,  secondary 
victims,  and  accomplices  in  the  sinister  deed;  the  deed 
itself  may  be  brought  about  according  to  the  author's 
choice  among  the  numberless  circumstances  which  the 


FIFTEENTH  SITUATION  53 

Law    has    foreseen,    with    divers    details   such    as    court 
trials  suggest . 

If  a  more  complicated  action   is  desired,   interweave 
as  Hennique  has  done)  a  rivalry  of  Kinsmen,  an  un- 
natural  love   (see   Euripides'   Chrysippe),   an  ambitious 
purpose  and  a  conspiracy. 


SIXTEENTH  SITUATION 

MADNESS 
(Elements:     Madman  and  Victim) 

The  origin  of  certain  human  actions  lies  hidden  in 
fearful  mystery;  a  mystery  wherein  the  ancients  believed 
they  discerned  the  cruel  smile  of  a  god,  and  wherein 
our  scientists,  like  the  Chinese  philosophers  believe, 
they  recognize  the  desires,  prolonged  and  hereditary,  of 
an  ancestor.  A  startling  awakening  it  is  for  Reason, 
when  she  finds  on  all  sides  her  destiny  strewn  with 
corpses  or  with  dishonors,  which  the  Other,  the  unknown, 
has  scattered  at  his  pleasure.  At  this  calamity,  greater 
than  death,  how  our  kindred  must  weep  and  tremble; 
what  terror  and  suspense  must  arise  in  their  minds! 
And  the  victims,  whose  cries  are  lost  in  the  mute  heavens; 
the  beloved  ones  pursued  in  unreasoning  rage  which  they 
cannot  comprehend!  What  variations  of  the  incon- 
scient  are  here:  folly,  possession,  divine  blindness,  hypno- 
sis, intoxication,  f orgetf ulness ! 

A  (1)  -  Kinsmen  Slain  in  Madness:  -  -  "Athamas" 
and  the  "Weavers  of  Nets"  by  Aeschylus;  "Hercules 
Furens"  by  Euripides  and  by  Seneca;  "Ion"  by 
Euripides. 

(2)  -  -  A  Lover  Slain  in  Madness:  -  -  "La  Fille  Eliza," 
by  Edmond  de  Goncourt;  "La  Tentation  de  Vivre" 
(Louis  Ernault).  A  lover  on  the  point  of  slaying  his 
mistress  in  madness:  Example  from  fiction:  "La  Bete 
Humaine."  Familiar  instances:  Jack  the  Ripper;  the 
Spaniard  of  Montmartre,  etc. 

(3)  --  Slaying  or  Injuring  of  a  Person  not  Hated: 
-  "Monsieur  Bute"   (Biollay,  1890).     Destruction  of  a 

work:  "Hedda  Gabler." 

54 


SIXTEENTH  SITUATION  55 

B  —  Disgrace  Brought  Upon  Oneself  Through 
Madness:  --Aeschylus'  "Thracians;"  Sophocles'  "Ajax;" 
to  some  extent  "Saul"  (Gide). 

C  -  Loss  of  Loved  Ones  Brought  About  by  Mad- 
ness:—  "Sakuntala"  by  Kalidasa,  (form,  amnesia). 
The  philtre  of  Hagen,  in  Wagner. 

D  -  -  Madness  Brought  on  by  Fear  of  Hereditary 
Insanity:    -  "L'Etau"  (Andre"  Sardou,  1909). 

The  case  of  A  (3),  transferred  to  the  past  and  treated 
according  to  a  quid-pro-quo  process,  is  that  of  one  of  the 
merriest  comedies  of  the  nineteenth  century,  "L' Affaire 
de  la  rue  de  Lourcine"  by  Labiche. 

Numberless  examples  of  this  Sixteenth  Situation 
have  filled  the  disquieting  pages  of  alienists'  journals. 
Mental  diseases,  manias  of  various  types,  offer  power- 
ful dramatic  effects  which  have  not  yet  been  exploited. 
These  furnish,  doubtless,  but  points  of  departure  toward 
the  Situation  whose  real  investiture  takes  place  at  the 
moment  of  the  hero's  restoration  to  reason,  -■-  which 
is  to  say,  to  suffering.  But  if  it  ever  happens  that  these 
three  phases  —  the  etiology  of  delirium,  its  access,  and 
the  return  to  a  normal  condition  -  are  treated  with 
equal  strength  and  vigor,  what  an  admirable  work  will 
result! 

The  first  of  the  three  stages,  which  bears  upon  the 
explanations  of  insanity,  has  been  variously  held  to  be 
divine  (by  the  Greeks),  demoniac  (by  the  Church),  and, 
in  our  own  times,  hereditary  and  pathological.  Hypno- 
tism has  recently  created  another  nuance;  the  hypnotist 
here  forms  a  substitute,  -a  sorry  one  it  is  true,-  for 
divinity  or  demon.  Drunkenness  furnishes  us  a  nuance 
unfamiliar  to  Greece;  what  is  today  more  commonplace, 
and  at  the  same  time  more  terrible,  than  the  disclosure 
of  an  important  secret  or  the  committing  of  a  criminal 
act,  while  under  the  influence  of  drink? 

Is  it  necessary  to  say  thai  all  ties,  all  interests,  all 
human  desires,  may  he  represented  crossed  and  illumin- 
ated by  the  lighl  of  dementia? 

For  the  rest,  this  situation  of  Madness  is  far  from 
having  been  neglected  in  our  theater.  Shakespeare, 
in  his  most   personal  dramas,   has   made   use  of   insanity 


56  THIRTY-SIX  DRAMATIC  SITUATIONS 

in  the  leading  roles.  Lady  Macbeth  is  a  somnambu- 
list and  dies  in  hysteria,  her  husband  is  a  victim  of  hal- 
lucinations; the  same  may  be  said  of  Hamlet,  who  is 
a  lypemaniac  besides;  of  Timon  also;  Othello  is  an 
epileptic  and  King  Lear  completely  deranged.  It  is  on 
this  account  that  the  great  William  is  so  dangerous  a 
model  (Goethe  would  not  read  him  more  than  once  a 
year).  He  has  played,  to  some  extent,  the  same  role 
as  Michael-Angelo,  -  -  he  has  exaggerated  the  springs  of 
action  to  the  farthest  limits  of  reality,  beyond  which 
his  disciples  fall  immediately  into  mere  ridiculous 
affectation. 

On  the  other  hand,  if  we  except  the  pretext  of  study- 
ing insanity  in  itself,  which  "Ajax"  has  furnished  from 
Astydamus  to  Ennius,  and  from  Ennius  to  Emperor 
Augustus,  I  find  nothing  "Shakespearean"  in  the  drama 
of  antiquity  except  "Orestes."  All  other  characters 
are  in  the  enjoyment  of  their  senses,  and  do  not  thereby 
become  any  less  pathetic.  "CEdipus"  alone  shows,  in 
default  of  abnormality  in  the  hero's  psychologic  con- 
stitution, external  events  of  an  extraordinary  character 
(a  resource  since  so  largely  used  by  the  Romanticists 
of  1830  and  later).  But  the  rest  of  the  antique  dramatic 
types  are  evolved  in  accordance  with  normal  passions, 
and  under  objective  conditions  relatively  common. 


SEVENTEENTH  SITUATION 
FATAL  IMPRUDENCE 

(The  Imprudent;  the  Victim  or  the  Object  Lost) 

To  which  are  sometimes  added  "The  Counsellor,"  a 
person  of  widsom,  who  opposes  the  imprudence,  "The 
Instigator,"  wicked,  selfish  or  thoughtless,  and  the 
usual  string  of  Witnesses,  secondary  Victims,  Instru- 
ments, etc. 

A  (1)  -  -  Imprudence  the  Cause  of  Ones  Own  Mis- 
fortune: --  Sophocles'  "Eumele;"  Euripides'  "Phaeton" 
(here  the  Counsellor  is  blended  with  the  Instrumental 
character,  in  which,  bound  by  a  too-hasty  oath,  he  finds 
himself  in  Situation  XXIII,  A  (2),  --obliged  to  sacrifice 
a  kinsman  to  keep  a  vow  :  "The  Master  Builder,"  by 
Ibsen.     From  comedy:  "L'Indiseret"    See,  L903). 

(2)  Imprudence  the  Cause  of  Ones  Own  Dis- 
honor: "La  Banque  de  I'Univers"  (Grenet-Dancourt, 
L886).  From  fiction:  "L'Argent"  by  Zola.  Historic: 
Ferdinand  de  Lesseps. 

B  (1)  Curiosity  the  Cause  of  Ones  Own  Misfor- 
tune: -  Aeschylus'  "Semele."  Historic  examples  (which 
rise  to  the  Twentieth  Situation,  "Sacrifices  to  I  he  [deal"): 
the  deaths  of  many  scholars  and  scientists. 

(2)        Loss    of     the     Possession    of    a     loved    One, 

Through  Curiosity:  "Psyche"  (borrowed  from  the 
account  which  La  Fontaine  drew  from  Apuleius,  himself 
the  debt  of  of  Lucius  of  Patras,  and  dramatized  by  Cor- 
neille,  Moliere  and  Quinault  ;  "Esclarmonde"  (Mas- 
senet, L889).  Legendary  example:  Orpheus  bringing 
hack  Eurydice.  This  nuance  tends  toward  Situations 
XXXII  and  XXXIII.  "Mistaken  Jealousy"  and  "Judi- 
cial Error." 

... 


58  THIRTY-SIX  DRAMATIC  SITUATIONS 

C  (1)  -  -  Curiosity  the  Cause  of  Death  or  Misfor- 
tune to  Others:  --  Goethe's  "Pandora"  and  also  Vol- 
taire's; "The  Wild  Duck"  by  Ibsen.  Legendary  example: 
Eve. 

(2)  -  -  Imprudence  the  Cause  of  a  Relative's  Death: 
"La  Mere  Meurtriere  de  son  Enfant"  (a  fourteenth- 
century  Miracle  of  Notre-Dame);  "On  ne  Badine  pas 
avec  1' Amour"  (de  Musset);  "Renee  Mauperin,"  by  the 
Goncourts.  Familiar  instances:  blunders  in  the  care  of 
sick  persons.  "Louise  Leclerq,"  by  Verlaine.  The 
cause  of  another's  misfortune:  "Damaged  Goods" 
(Brieux,  1905). 

(3)  -  -  Imprudence  the  Cause  of  a  Lover's  Death: 

-  "Samson"  by  Voltaire;  "La  Belle  aux  Cheveux  d'Or" 
(Arnould,  1882). 

(4) -- Credulity  the  Cause  of  Kinsmen's  Deaths: 

-  "Pelias"  by  Sophocles  and  "The  Peliades"  by  Euri- 
pides. From  fiction  (credulity  the  cause  of  misfortune 
to  fellow-citizens):  "Port-Tarascon." 

Establish  in  each  of  the  preceding  sub-classes  equiva- 
lents to  those  cases  which  are  presented  in  single  instances 
in  one  class  only,  and  we  have  the  following  subjects: 
—  By  Imprudence  (meaning  imprudence  pure  and  simple, 
unconnected  with  curiosity  or  credulity)  to  cause  mis- 
fortune to  others;  to  lose  possession  of  a  loved  one  (lover, 
wife  or  husband,  friend,  benefactor,  protege,  etc.);  to 
cause  the  death  of  a  relative  (any  degree  of  kinship  may 
be  chosen);  to  cause  the  death  of  a  loved  one.  By 
Curiosity  (unmixed  with  imprudence  or  credulity)  to 
cause  the  dishonor  of  a  relative  (the  various  kinds  of 
dishonor  are  numerous  enough,  touching  as  they  do 
upon  probity,  upon  courage,  upon  modesty,  upon  loy- 
alty); to  cause  the  dishonor  of  a  loved  one;  to  cause 
ones  own  dishonor.  To  cause  these  dishonors  by  pure 
Credulity  (unmixed  with  imprudence  or  curiosity). 
An  examination  of  the  Twelfth  Situation  will  give  us  a 
primary  idea  of  the  way  in  which  Ruse  may  be  used  to 
gain  this  credulity.  By  Credulity  also  to  cause  ones 
own  misfortune,  or  lose  possession  of  a  loved  one,  or 
cause  misfortune  to  others,  or  cause  the  death  of  a  loved 
one. 


SEVENTEENTH  SITUATION  59 

Let  us  now  pass  to  the  causes  which  may  precipitate 

—  as  readily  as  curiosity,  credulity,  or  pure  impru- 
dence —  an  overhanging  catastrophe.     These  causes  are: 

—  the  infraction  of  a  prohibition  or  law  previously  made 
by  a  divinity;  the  deadly  effect  of  the  act  upon  him  who 
commits  it  (an  effect  due  to  causes  perhaps  mechanical, 
perhaps  biological,  perhaps  judicial,  perhaps  martial, 
etc.);  the  deadly  consequences  of  the  act  for  the  kindred 
or  the  beloved  of  him  who  commits  it;  a  sin  previously 
committed,  consciously  or  unconsciously,  and  which 
is  about  to  be  revealed  and  punished. 

Besides  curiosity  and  credulity,  other  motives  may 
determine  the  imprudence;  in  "The  Trachiniae,"  for 
instance,  it  is  jealousy.  The  same  role  might  be  given 
to  any  one  of  the  passions,  the  emotions,  the  desires, 
the  needs,  the  tastes,  the  human  weaknesses; --sleep, 
hunger,  muscular  activity,  gluttony,  lust,  coquetry, 
childish  simplicity.  As  to  the  final  disaster,  it  may 
assume  many  aspects,  since  it  may  fall  in  turn  upon 
physical,  moral  or  social  well-being,  whether  by  tin- 
destruction  of  happiness  or  honor,  of  property  or  power. 

In  the  present  situation,  the  Instigator,  --who  never- 
theless is  not  essential,  --  may  become  worthy  of  figur- 
ing even  as  the  protagonist ;  such  is  the  case  of  Medea 
in  "Pelias."  This  is  perhaps  the  most  favorable  aspeel 
in  which  the  "villain"  can  be  presented;  imagine,  for 
instance,  an  Iago  becoming  the  principal  character  of 
a  play  (as  Satan  is  of  the  world)!  The  difficulty  will 
be  to  find  a  sufficient  motive  for  him;  ambition,  (partly 
the  case  in  Richard  111;  is  not  always  a  convincing  one, 
because  of  its  "a  priori"  way  of  proceeding;  jealousy 
and  vengeance  seem  a  i  rifle  sentimental  tor  this  dem- 
oniac figure;  misanthropy  is  too  philosophic  and  honor- 
able; self-interest  (the  case  of  Pelias)  is  more  appropri- 
ate.  But  envy,  -    envy,  which  in  the  presence  of  friendly 

solicitude    feels    hill     the    more     keenly     the    sin;irl     of    its 

wounds,      envy  studied  in  its  dark  and  base  endeavors, 

in    the    shame    of    defeat,    in    its    cowardice,    and    end 
finally    in    crime,        here,    it    seems    to    me,    is    the    ideal 
motive. 


EIGHTEENTH  SITUATION 

INVOLUNTARY  CRIMES  OF  LOVE 

(The  Lover;  the  Beloved;  the  Revealer) 

This  and  the  following  situation  stand  out  as  the 
most  fantastic  and  improbable  of  all  the  silhouettes 
upon  our  dramatic  horizon.  Nevertheless  they  are,  in 
themselves,  quite  admissible,  and  at  least  not  rarer 
today  than  they  were  in  heroic  times,  through  adultery 
and  prostitution,  which  never  flourished  more  generally 
than  at  present.  It  is  merely  the  disclosure  which  is 
less  frequent.  Yet  many  of  us  have  seen  certain  mar- 
riages, apparently  suitable,  planned  and  arranged,  as 
it  were,  by  relatives  or  friends  of  the  families,  yet  obsti- 
nately opposed,  avoided  and  broken  off  by  the  parents, 
seemingly  unreasonable,  but  in  reality  only  too  certain 
of  the  consanguinity  of  the  lovers.  Such  revelations, 
then,  still  take  place,  although  without  their  antique 
and  startling  £clat,  thanks  to  modern  custom  and  our 
prudent  prudery. 

Its  reputation  for  fabulous  monstrosity  was  in  reality 
attached  to  our  Eighteenth  Situation  by  the  unequalled 
celebrity  of  the  theme  of  "CEdipus,"  which  Sophocles 
treated  in  a  style  almost  romantic,  and  which  his  imi- 
tators have  ever  since  overloaded  with  fanciful  arabesques, 
more  and  more  chimerical  and  extraordinary. 

This  situation  and  the  following --as  indeed  to  some 
extent  all  thirty-six  --  may  be  represented,  as  the  author 
chooses,  in  one  of  two  lights.  In  the  first,  the  fatal 
error  is  revealed,  simultaneously  to  the  spectator  and 
to  the  character,  only  after  it  is  irreparable,  as  in  Class 
A;  and  here  the  state  of  mind  strongly  recalls  the  Six- 
teenth.    In  the  second,  the  spectator,  informed  of  the 

60 


EIGHTEENTH  SITUATION  61 

truth,  sees  the  character  walk  unconsciously  toward  the 
crime,  as  though  in  a  sinister  sort  of  blindman's-bufT, 
as  in  Classes  B,  C  and  D. 

A  (1)  -  -  Discovery  That  One  Has  Married  Ones 
Mother:-  The  "GEdipus"  of  Aeschylus,  of  Sophocles, 
of  Seneca,  of  Anguillara,  of  Corneille,  of  Voltaire,  not 
to  speak  of  those  of  Achaeus,  Philocles,  Melitus, 
Xenocles,  Nicomachus,  Carcinus,  Diogenes,  Theodecte, 
Julius  Caesar;  nor  of  those  of  Jean  Provost,  Nicolas  de 
Sainte-Marthe,  Lamothe,  Ducis,  J.  Chenier,  etc.  The 
greatest  praise  of  Sophocles  consists  in  the  astonish- 
ment we  feel  that  neither  the  many  imitations,  nor 
the  too  well-known  legend  of  the  abandonment  on 
Cithaeron,  nor  the  old  familiar  myth  of  the  Sphinx, 
nor  the  difference  in  the  ages  of  the  wedded  pair,  that 
none  of  these  things  has  made  his  work  appear  un- 
natural or  unconvincing. 

(2)  -  Discovery  That  One  Has  Had  a  Sister  as  Mis- 
tress:     Tasso's  "Torrismond; rhe  Bride  of  Messina" 

by  Schiller.  This  case,  obviously  a  more  frequenl  one. 
becomes  unconvincing  in  the  latter  drama,  when  com- 
bined with  the  Nineteenth  Situation.  Example  from 
fiction:  "L'Enfant  Naturel,"  by  Sue 

B  (1)  Discovery  That  One  Has  Married  Ones 
Sister:  -  "Le  Mariage  d'  Andre*'  (Lemaire  and  de 
Rouvre,  1882).  This  being  a  comedy,  the  error  is  dis- 
covered in  time  to  be  remedied,  and  the  play  "ends 
happily."  "Abufar"  by  Ducis,  which  also  falls  under 
;i  preceding  classification. 

(2)  The  Same  Case,  in  Which  the  Crime  Has 
Been   Villainously   Planned   by  a  Third   Person: 

"Heraclius"      i  his    gives,    despite    its    genius,    nil  her    the 

feeling  of  a  nightmare  than  of  ,-i  terrible  reality  , 

:;  Being    Upon    the    Point    of   Taking   a    Sister, 

I  nknowingly,  as  Mistress:  Ibsen's  "Ghosts."  The 
mother,  ;i  knowing  witness,  hesitates  to  reveal  the  dan- 
ger, l'»r  fear  <»f  subjecting  the  son  to  ;i  fatal  shock. 

C  Being  l  pon  the  Point  of  Violating,  Un- 
knowingly, a  Daughter:  Partial  example:  "I, a  Dame 
:<\r<  |  )ommo  Rose"    Bouvier,  L882  . 


THIRTY-SIX  DRAMATIC  SITUATIONS 

D  (1)  Being  Upon  the  Point  of  Committing  an 
Adultery  Unknowingly  (the  only  cases  I  have  found  in 
all  drama): --"Le  Roi  Cerf"  and  "L'Amour  des  Trois 
Oranges,"  both  by  Gozzi. 

(2)  -  Adultery  Committed  Unknowingly:  —  Prob- 
ably the  "Alcmene"  of  Aeschylus;  "Le  Bon  Roi  Dago- 
bert"  (Rivoire,  1908).  From  fiction:  the  end  of  "The 
Titan,"  by  Jean-Paul  Richter. 

The  various  modifications  of  incest  and  other  for- 
bidden loves,  which  will  be  found  in  Situation  XXVI, 
may  be  adapted  in  the  same  manner  as  those  here 
classified. 

We  have  seen  above  instances  of  adultery  committed 
through  a  mistake  on  the  part  of  the  wife;  it  might  also 
be  through  a  mistake  by  the  husband.  This  error  is 
especially  likely  to  be  made  by  that  one  of  the  two 
adulterers  who  is  unmarried;  what  is  more  common, 
for  example,  in  the  life  of  "pleasure,"  than  to  discover 
-  a  little  tardily  -  -  that  ones  mistress  is  a  married 
woman? 

Ignorance  of  the  sex  of  the  beloved  is  the  point  upon 
which  "Mademoiselle  de  Maupin"  turns;  there  is  in  the 
first  place  a  mistake  (comedy),  upon  which  are  built 
the  obsidional  struggles  of  a  soul  (tragi-comedy),  from 
which  there  finally  results,  when  the  truth  is  disclosed 
a  brief  tragic  denouement. 


NINETEENTH  SITUATION 
SLAYING  OF  A  KINSMAN  UNRECOGNIZED 

(The  Slayer;  the  Unrecognized  Victim) 

Whereas  the  Eighteenth  Situation  attains  its  highest 
degree  of  emotion  after  the  accomplishment  of  the  act, 
(doubtless  because  all  the  persons  concerned  in  it  survive, 
and  the  horror  of  it  lies  chiefly  in  the  consequences),  the 
Nineteenth,  on  the  contrary,  in  which  a  victim  is  to  perish 
and  in  which  the  interest  increases  by  reason  of  the  blind 
premeditation,  becomes  more  pathetic  in  the  preparations 
for  the  crime  than  in  the  results.  This  permits  a  happy 
ending,  without  the  necessity  of  recourse,  as  in  the  Eigh- 
teenth, to  a  comedy-process  of  error.  A  simple  recogni- 
tion of  one  character  by  another  will  suffice,  --of  which 
our  Situation  XIX  is,  in  effect,  but  a  development. 

A  (1)  Being  Upon  the  Point  of  Slaying  a  Daugh- 
ter Unknowingly,  by  Command  of  a  Divinity  or  an 
Oracle:  --  Metastasio's  "Demophon."  The  ignorance 
of  the  kinship  springs  from  a  substitution  of  infants;  the 
interpretation  of  the  oracle's  words  is  erroneous;  the 
"jeune  premiere,"  at  one  point  in  the  action,  believes 
herself  the  Bister  of  her  fiance.  This  linking  of  three  or 
four  mistakes  'unknown  kinship,  in  the  special  lighl  of  the 
situation  we  are  now  studying,  a  supposed  danger  of  incest , 
as  in  B  2  of  the  preceding,  and  finally  a  misleading  ambig- 
uity of  words,  as  in  the  majority  of  comedies)  suffices  to 
constitute  what  is  called  "stirring''  action,  characteristic 
of  the  intrigues  brought  back  into  vogue  by  the  Second 
Empire,  and  over  whose  intricate  entanglements  our 
chroniclers  waxed  so  naively  enthusiastic. 

68 


64  THIRTY-SIX  DRAMATIC  SITUATIONS 

(2)  -  Through  Political  Necessity:  -  "Les  Guebrcs 
and  "Lcs  Lois  de  Minos"  by  Voltaire. 

(3)  -  Through  a  Rivalry  in  Love:  -"La  Petite 
Mionne"  (Richebourg,  1890). 

(4)  -  Through  Hatred  of  the  Lover  of  the  Unrec- 
ognized Daughter:  -  "LeRoi  s'amuse"  (in  which  the 
discovery  takes  place  after  the  slaying). 

B  (1)  Being  Upon  the  Point  of  Killing  a  Son 
Unknowingly:  The  "Telephus"  of  Aeschylus  and  of 
Sophocles  (with  incest  as  the  alternative  of  this  crime); 
Euripides'  "Cresphontes;"  the  "Meropes"  of  Maffei,  of 
Voltaire  and  of  Alfleri;  Sophocles'  "Creusa;"  Euripides' 
"Ion."  In  Metastasio's  "Olympiad"  this  subject  is 
complicated  by  a  "Rivalry  of  Friends."  A  Son  Slain 
Without  Being  Recognized :--  Partial  example:  the 
third  act  of  "Lucrece  Borgia;"  "The  24th  of  February," 
by  Werner. 

(2)-  The  Same  Case  as  B  (1),  Strengthened  by 
Machiavellian  Instigations:  -  Sophocles'  "Euryale;" 
Euripides'  ".Egeus." 

(3)-  The  Same  Case  as  B  (2),  Intermixed  With 
Hatred  of  Kinsmen  (that  of  grandfather  for  grandson) : 
—  Metastasio's  "Cyrus." 

C  Being  Upon  the  Point  of  Slaying  a  Brother 
Unknowingly:     (1)       Brothers  Slaying  in  Anger:  - 

The  "Alexanders"  of  Sophocles  and  of  Euripides.  (2)  — 
A  Sister  Slaying  Through  Professional  Duty:  -  -  "The 
Priestesses"  of  Aeschylus;  "Iphigenia  in  Tauris,"  by 
Euripides  and  by  Goethe,  and  that  projected  by  Racine. 
D-~  Slaying  of  a  Mother  Unrecognized:  -  Vol- 
taire's "Semiramis;"  a  partial  example:  the  denouement 
of   "Lucrece  Borgia." 

E  -  A  Father  Slain  Unknowingly,  Through  Mach- 
iavellian Advice:  (see  XVII):  --  Sophocles'  "Pelias"  and 
Euripides'  "Peliades;"  Voltaire's  "Mahomet"  (in  which 
the  hero  is  also  upon  the  point  of  marrying  his  sister 
unknowingly).  The  Simple  Slaying  of  a  Father 
Unrecognized:  --  Legendary  example:  Laius.  From 
romance:  "The  Legend  of  Saint  Julian  the  Hospitaller." 


NINETEENTH  SITUATION  65 

The  Same  Case  Reduced  From  Murder  to  Simple 
Insult:  -  -  "Le  Pain  d'Autrui"  (after  Turgenieff,  by  Eph- 
raim  and  Schutz,  1890).  Being  Upon  the  Point  of  Slay- 
ing a  Father  Unknowingly:  -  "Israel"  (Bernstein, 
1908). 

F  (1)  -  -  A  Grandfather  Slain  Unknowingly,  in 
Vengeance  and  Through  Instigation:-  "Les  Bur- 
graves"  (Hugoi. 

(2)  -  -  Slain  Involuntarily:  --  Aeschylus'  "Polydec- 
tes." 

(3)  -  -  A  Father-in-Law  Killed  Involuntarily:  — 
Sophocles'  "Amphitryon." 

G  (1)       Involuntary  Killing  of  a  Loved  Woman: 

-Sophocles'  "Procris."  Epic  example:  Tancred  and 
Clorinda,  in  "Jerusalem  Delivered."  legendary  example 
(with  change  of  the  sex  of  the  person  loved):  Hyacinthus. 

(2)  Being  Upon  the  Point  of  Killing  a  Lover 
Unrecognized:       "The  Blue  Monster"  by  Gozzi. 

(3)  Failure  to  Rescue  an  Unrecognized  Son: 

"Saint  Alexis"  (a  XIV  Century  Miracle  of  Notre-Dame;) 
"La  Voix  du  Sang"  (Rachilde). 

Remarkable  is  the  liking  of  Hugo  (and  consequently 
of  his  imitators)  for  this  somewhat  rare  situation.  Each 
of  the  ten  dramas  of  the  old  Romanticisl  contains  it;  in 
two  of  them,  "Hernani"  and  "Torquemada,"  it  is  in  a 
manner  accessory  to  the  Seventeenth  (Imprudence)  fatal 
to  the  hero  also:  in  four  ("Marion  Delorme,"  "Angelo." 
"La  Esmeralda,"  "Ruy  Bias")  this  case  of  involuntary  in- 
jury to  a  loved  one  supplies  all  the  action  and  furnishes 
the  best  episodes;  in  four  others  i  "Le  Roi  s'amuse,"  "Marie 
Tudor,"  "LuenVe  Borgia,"  "Les  Burgraves")  it  serves 
furthermore  as  denouement .  It  would  seem,  indeed,  that 
drama,  for  Hugo,  consists  in  this:  the  causing,  directly  or 
indirectly,  of  the  death  of  ;i  loved  one;  and,  in  the  work 
wherein  he  has  accumulated  the  greatesl  number  of  the- 
atrical effects  in  "Lucrece  Borgia"  we  see  the  same 
situation  returning  no  less  than  five  times.  Near  the  first 
part  of  Act  I,  Gennaro  permits  his  unrecognized  mother 
to  be  insulted;  in  the  second  part,  he  himself  insulta  her. 


66  THIRTY-SIX   DRAMATIC  SITUATIONS 

not  knowing  her  for  his  mother;  in  Act  II  she  demands, 
and  is  granted,  the  death  of  her  unrecognized  son,  then 
finds  she  has  no  recourse  but  to  kill  him  herself,  then  is 
again  insulted  by  him;  finally,  in  Act  III,  she  poisons  him, 
and,  still  unknown,  is  insulted,  threatened  and  slain  by 
him. 

Be  it  noted  that  Shakespeare  has  not  in  a  single  instance 
employed  this  Nineteenth  Situation,  an  altogether  acci- 
dental one,  having  no  bearing  upon  his  powerful  studies 
of  the  will. 


TWENTIETH  SITUATION 

SELF-SACRIFICING  FOR  AN  IDEAL 

(The  Hero;  the  Ideal;  the  "Creditor"  or  the  Person  or 

Thing  Sacrificed  I 

The  four  themes  of  Immolation,  of  which  this  is  the 
first,  bring  before  us  three  corteges :-- Gods  (XX  and 
XXIII),  Kindred  (XXI  and  XXIII),  and  Desires  (XXII). 
The  field  of  conflict  is  no  longer  the  visible  world,  but  the 
Soul. 

Of  these  four  subjects,  none  is  nobler  than  this  of  our 
Twentieth  Situation,  -  all  for  an  ideal!  What  the  ideal 
may  be,  whether  political  or  religious,  whether  it  be  called 
Honor  or  Piety,  is  of  little  importance.  It  exacts  the 
sacrifice  of  all  tics,  of  interest,  passion,  life  itself,  far 
better,  however,  under  one  of  the  three  following  forms, 
if  it  be  tarnished  with  the  slightest,  even  although  the 
most  sublime,  egoism. 

A  (1)  Sacrifice  of  Life  for  the  Sake  of  Ones 
Word:  -The  "Regulus"  of  Pradon  and  also  of  Metas- 
io;  the  end  of  'Hernani"  Carthage  and  Don  Ruy 
(iomez  are  the  "Creditors").  Is  it  not  surprising  that 
a  greater  number  of  examples  do  not  at  once  present 
themselves  to  us'.'  This  fatality,  the  work  of  the  victim 
himself,  and  in  which  the  victory  is  won  over  Self,  is  it 
n< >t  worthy  to  illuminate  the  stage  with  its  sacrificial 
flames?  There  is,  nevertheless,  no  necessity  for  choosing 
a  hero  of  an  almot  I  too-perfed  type,  such  as  Regulus. 

(2)        Life  Sacrificed  for  t  he  SlICCeM  of  Ones  People: 

"The  Waiting-Women"  bj    \<  chylu  ;  "Protesilas'1  by 
Euripides;  "Themistocles"  by  Meta  Partial  ezam- 


68  THIRTY-SIX  DRAMATIC  SITUATIONS 

pies:  "Iphigenia  in  Aulis,"  by  Euripides  and  by  Racine. 
Historic  examples:  Cordus;  Curtius;  Latour  d'Auvergne. 
For  the  Happiness  of  Ones  People:  -  The  "Suffering 
Christ"  of  St.  Gregory  Nazianzen. 

(3)-  Life  Sacrificed  in  Filial  Piety: --"The  Phoe- 
nician Women"  by  Aeschylus;  the  "Antigones"  of  Soph- 
ocles and  Euripides;  of  Alamanni  and  Alfieri. 

(4)  -  Life  Sacrificed  for  the  Sake  of  Ones  Faith:  - 
"The  Miracle  of  St.  Ignace  of  Antioch"  (XIV  Century;) 
"Vive  le  Roi"  (Han  Rymer,  1911;)  "Cesar  Birotteau" 
(Fabre,  after  Balzac,  1911);  "The  Constant  Prince"  by 
Calderon;  "Luther"  by  Werner.  Familiar  instances: 
all  martyrs,  whether  to  religion  or  science.  In  fiction: 
"L'CEuvre"  by  Zola.  For  the  Sake  of  Ones  King: 
"L'Enfant  du  Temple"  (de  Pohles). 

B  (1)  -  -  Both  Love  and  Life  Sacrificed  for  Ones 
Faith:  -  "Polyeucte."  In  fiction  "L' Evangel iste")  sac- 
rifice of  family  and  future  for  ones  faith). 

(2) --Both  Love  and  Life  Sacrificed  to  a  Cause: - 
"Les  Fils  de  Jahel"  (Mme.  Armand,  1886). 

(3)  -  Love  Sacrificed  to  Interests  of  State:  -  This 
is  the  favorite  motif  of  Corneille,  as  in  "Othon,"  "Sertor- 
ius,"  "Sophonisbe,"  "Pulcherie,"  "Tite  et  Berenice."  Add 
to  these  the  "Berenice"  of  Racine  and  the  "Sophonisbe" 
of  Trissino,  that  of  Alfieri  and  that  of  Mairet;  Metastasio's 
"Achilles  in  Scyro"  and  his  "Dido;"  Berlioz'  "Troyons" 
(the  best  tragedy  of  his  century;)  "L'Imperatrice"  (Men- 
des).  The  "Creditor"  in  this  sub-class,  remaining  abstract, 
is  easily  confounded  with  the  Ideal  and  the  Hero;  the 
"Persons  Sacrificed,"  on  the  contrary,  become  visible; 
these  are  Plautine,  Viriate,  Syphax  and  Massinisse,  Bere- 
nice, D&damie.     In  comedy:  "S.  A.  R."  (Chancel,  1908). 

C  -  Sacrifice  of  Weil-Being  to  Duty:  "Resurrec- 
tion" by  Tolstoi;  "L'Apprentie"  (Geffroy,  1908). 

D  -  The  Ideal  of  "Honor"  Sacrificed  to  the  Ideal 
of  "Faith;"  -  Two  powerful  examples,  which  for  secon- 
dary reasons  did  not  attain  success  (because  the  public 
ear  was  incapable  of  perceiving  a  harmony  pitched  so 
high  in  the  scale  of  sentiment):  "Theodore"  by  Corneille 
and  "The  Virgin  Martyr"  by  Massinger.  Partial  exam- 
ple: the  good  hermit  Abraham  in  Hroswitha. 


TWENTY-FIRST  SITUATION 

SELF-SACRIFICE  FOR  KINDRED 

(The  Hero;  the  Kinsman;  the  "Creditor"  or 
the  Person  or  Thing  Sacrificed 

A  (1)  -  -  Life  Sacrificed  for  that  of  a  Relative  or  a 
Loved  One:  -  The  "Alcestes"  of  Sophocles,  of  Euripides, 
of  Buchanan,  of  Hardy,  of  Racine  (projected,) of Quinault, 
of  I^agrange-Chancel,  of  Boissy,  of  Coypel,  of  Saint-Foix, 
of  Dorat,  of  Cluck,  of  H.  Lucas,  of  Vauzelles,  etc. 

(2)  Life  Sacrificed  for  the  Happiness  of  a  Relative 
or  a  Loved  One:  "L'Ancien"  by  Richepin.  Two  sym- 
metrical works  are  "Smilis"  Aicard.  L884),  in  which  the 
husband  sacrifices  himself,  and  "Le  Divorce  de  Sarah 
Moore"  (Rozier,  Paton  and  Dumas  fils),  in  which  the  wife 
sacrifices  herself.  Examples  from  fiction  and  analogous 
to  these  two  dramas  are  "Greal  Expectations"  by  Dickens 
and  "La  Joie  de  VTvre"  by  Zola.  Common  examples: 
workmen  in  dangerous  occupations. 

B  (1)  -  Ambition  Sacrificed  tor  (be  Happiness  of  a 
Parent:  "Les  FYeres  Zemganno"  by  Edmond  de  (inn- 
court.  This  ends  with  a  d£nouemen1  the  opposite  of 
thai  of  "L'CEuvre." 

2  \mbition  Sacrificed  tor  (be  Life  of  a  Parent  : 

"Madame  de  Maintenon"    Copp£e,  L881). 

C      1  Love  Sacrificed  for  (lie  Sake  of  a   Parent's 

I. iff :      "1  >iane"  1>         jjier;  "Mi  1 1  j  re"    I  tennery,  I S 

2  lor     (be     Happiness    of     Ones    Child:  I  • 

Reveil"     Hervieu,   L905  ;  "La   lie  itive"    Picard,   l'.M  l 
for  die  Happiness  of  a  Loved  One:       "Cyrano  <\>'  Ber 
i ■' '  b     Rostand;  "1  .•■  I  h"oil  au  I  lonheur"    I '.  I  <emon- 

nier,  l!»<»'i 

69 


TO  THIRTY-SIX   DRAMATIC  SITUATIONS 

(3)  -  The  Same  Sacrifice  as  2,  But  Caused  by 
Unjust  Laws:    -  "La  Loi  de  l'Homme"  by  Hervieu. 

D  (1)  -Life  and  Honor  Sacrificed  for  the  Life  of 
a  Parent  or  Loved  One:  "Le  Petit  Jacques."  Case 
in  which  the  loved  one  is  guilty:  "La  Charbonniere"  (Cre- 
mieux,  1884);  "Le  Frere  d'Armes"  (Garaud,  1887);  "Le 
Chien  de  Garde"  (Richepin,  1889).  The  Same  Sacrifice 
Made  for  the  Honor  of  a  Loved  One:  "Pierre  Vaux" 
(Jonathan,  1882).  A  similar  sacrifice,  but  of  reputation 
only:  "La  Cornette"  (Mile,  and  M.  Ferrier,  1909). 

(2)  -  -  Modesty  Sacrificed  for  the  Life  of  a  Relative 
or  a  Loved  One:  -Shakespeare's  "Measure  for  Meas- 
ure;" Euripides'  "Andromache"  and  also  Racine's;  "Per- 
tharite"  by  Corneille;  "La  Tosca"  (Sardou,  1889).  In 
fiction:  "Le  Huron"  by  Voltaire. 


TWENTY-SECOND  SITUATION 

ALL  SACRIFICED  FOR  A  PASSION 

(The  Lover;  the  Object  of  the  Fatal  Passion; 
the  Person  or  Thing  Sacrificed  i 

A  (1)  -  -  Religious  Vows  of  Chastity  Broken  for  a 
Passion:-  "Jocelyn"  by  Godard.  From  fiction:  "La 
Faute  de  TAbbe  Mouret."  In  comedy:  "Dhourtta 
Narttaka." 

(2)--A  Vow  of  Purity  Broken :-- "Tannhauser." 
Respect  for  a  Priest  Destroyed:  -One  aspect  of  "La 
Conquete  de  Plassans." 

(3)  -A  Future  Ruined  by  a  Passion:  -  "Manon" 
by  Massenet;  "Sapho"  by  Daudel  :  "La  Griffe"  |  Bernstein, 
L906);  the  works  of  Louys  in  general. 

(4)  Power  Ruined  by  Passion:  Shakespeare's 
"Antony  and  Cleopatra;"  "Cleopatre"  by  Sardou. 

Ruin  of  Mind,  Health  and  Life:  la  Glu" 

(Richepin,  1883);  "L'Arlesienne"  (Daudel  and  Bizel  ; 
"La  Furie"  (Bois,  L909).  From  fiction  see  C):  "Le 
Possecl£"  by  Lemonnier.  Passion  Gratified  at  the  Price 
of  Life:      "Lne  Xuii  de  Cleopatre"  (Gautierand  Masse). 

5  Ruin    of    fortunes,     Lives    ami     Honors: 

"Nana;"  in  pari  "La  Route  d'Emeraude"  Richepin,  after 
Demolder,  L909  . 

B         Temptations     see    XII      Destroying   the  Sense 

of    Duty,    of    Pity,    etc:      "Salome*"     Oscar    Wild. 
From  fiction:  "Herodias,"  and  the  attempts  (repulsed)  in 
"The  Temptation  of  Saint  Anthony." 

C     1  Destruction  of  Honor,   Fortune  and   Life, 

by   Erotic   Vice:       "Germinie   Lacerteux"  l»y  de  Gon- 

.  i 


72  THIRTY-SIX  DRAMATIC  SITUATIONS 

court;  "Rolande"  (Gramont,  1888);  "Maman  Colibri" 
(Bataille,  1904).  From  fiction:  La  Cousine  Bette;" 
"I^  Capitaine  Burle." 

(2)  -  The  Same  Effect  Produced  by  Any  Other 
Vice:  -  -  "Trente  Ans  ou  la  Vie  d'un  Joueur;"  "L'Assom- 
moir."  From  fiction  "L'Opium"  by  Bonnetain;  "Lelie" 
by  Willy.  In  real  life:  our  race-courses,  our  wine-shops, 
our  cafes,  our  clubs,  etc.  In  comedy:  "Un  Ange" 
(Capus,  1909). 

Few  situations,  obviously,  have  received  better  and 
more  constant  treatment  during  our  own  century  —  to 
whose  vices  the  Twenty-Second  offers,  in  truth,  a  most 
appropriate  mirror,  in  its  amalgam  of  gloom  and  eroticism, 
at  the  same  time  presenting  the  most  interesting  studies 
of  nervous  pathology. 


TWENTY-THIRD  SITUATION 
NECESSITY  OF  SACRIFICING  LOVED  ONES 

(The  Hero;  the  Beloved  Victim;  the  Necessity  for 

the  Sacrifice) 

Although  similar  to  the  three  situations  we  have  just 
considered,  the  Twenty-Third  recalls,  in  one  of  its  aspects, 
that  destruction  of  natural  affection  which  marked  the 
Thirteenth,  "Hatred  of  Kinsmen."  The  feelings  which 
we  here  encounter  in  the  protagonist  are,  it  is  true,  of  a 
nature  altogether  different.  But  through  the  intrusion 
of  the  element  of  Necessity,  the  end  toward  which  he  must 
proceed  is  precisely  the  same. 

A  (1)  -  -  Necessity  for  Sacrificing  a  Daughter  in  the 
Public  Interest:  -  "The  Iphigenias"  of  Aeschylus  and 
of  Sophocles;  "Iphigenia  in  Aulis,"  by  Euripides  and  by 
Racine;  "Erechtheus"  by  Euripides 

(2)  Duty  of  Sacrificing  Her  in  Fulfillment  of  a 
Vow  to  God:  The  "Idomenees"  of  Crebillon,  Lemierre, 
and  Cienfuegos;  the  "Jephthes"  of  Buchanan  and  of 
Boyer.  This  nuance  tends  al  fust  toward  Situation 
XVII,  "Imprudence,"  but  the  psychologic  struggles  soon 
give  it  a  very  different  turn. 

:;  Duty  of  Sacrificing  Benefactors  or  Loved 
Ones  to  Ones  Faith:  "Torquemada:"  "Ninety-Three:" 
"I>es  Mouettes"  Paul  Adam,  L906);"La  Fille  aGuillotin" 
(Fleischmann,  L910).  Historic  instances;  Philip  [I;  Abra- 
ham and  Isaac 

B     I  Duty  of  Sacrificing  Ones  Child,  Unknown 

to  Others,  Under  the  Pressure  of  Necessity:        Euripi- 
des' "Melanippe;"  "Lucrece  Borgia,"    II,  5 

7:t 


74  THIRTY-SIX   DRAMATIC  SITUATIONS 

(2)  -  -  Duty  of  Sacrificing,  Under  the  Same  Circum- 
stances, Ones  Father:  The  "Hypsipyles"  of  Aeschy- 
lus, and  of  Metastasio;  "The  Lemnian  Women"  by 
Sophocles. 

(3)  Duty  of  Sacrificing,  Under  the  Same  Circum- 
stances, Ones  Husband:-  The  "Danaides"  of  Phryn- 
ichus,  of  Aeschylus,  of  Gombaud,  of  Salieri,  of  Spontini; 
the  "Lynceus"  of  Theodectes  and  of  Abeille;  the  Hyperm- 
nestres"  of  Metastasio,  Riupeiroux,  Lemierre,  etc. 

1  -  Duty  of  Sacrificing  a  Son-In-Law  for  the 
Public  Good:  -  -  "Un  Patriote"  (Dartois,  1881).  For 
the  Sake  of  Reputation:  -  "Guibor"  (a  XIV  Century 
Miracle  of  Notre-Dame). 

(5)  -  Duty  of  Contending  with  a  Brother-In-Law 
for  the  Public  Good:  -  -  Corneille's  "Horace,"  and  that 
of  Ar&in.  The  loyalty  and  affection  subsisting  between 
the  adversaries  remove  all  resemblance  to  the  Thirtieth. 

(6)  -  Duty  of  Contending  With  a  Friend:  -  "Jar- 
nac"  (Hennique  and  Gravier,  1909). 

Nuance  B,  (B  1  for  example),  lends  itself  to  a  fine  inter- 
lacing of  motifs.  Melanippe  finds  herself  (1st)  forced  to 
slay  her  son,  an  order  which  she  would  have  resisted  at  the 
risk  of  her  own  life,  but  she  is  at  the  same  time  (2nd) 
obliged  to  conceal  her  interest  in  the  child,  for  fear  of 
revealing  his  identity  and  thereby  causing  his  certain 
death.  Similar  dilemmas  may  be  evolved  with  equal 
success  in  all  cases  in  which  a  character  receives  an  injunc- 
tion which  he  is  unwilling  to  obey;  it  will  suffice  to  let  him 
fall,  by  his  refusal,  into  a  second  situation  leading  to  a 
result  equally  repugnant  or,  better  yet,  identical.  This 
dilemma  of  action  is  again  found  in  what  is  called  black- 
mail; we  have  also  seen  its  cruel  alternatives  outlined  in 
Class  D  of  Situation  XX  ("Theodore,"  "The  Virgin  Mar- 
tyr," etc.),  and  clearly  manifested  in  Class  D  (especially 
D  2)  of  Situation  XXII  ("Measure  for  Measure,"  "Le 
Huron,"  etc.)  but  it  is  there  presented  most  crudely,  by  a 
single  character  or  event,  of  a  nature  tyrannical  and  odious. 
Whereas  in  "Melanippe"  it  results  so  logically  and  piti- 
lessly from  the  action  that  it  does  not  occur  to  us  to  rebel 
against  it;  we  accept  it  without  question,  so  natural  does 
it  appear,  so  overwhelming. 


TWENTY-THIRD  SITUATION  75 

Before  leaving  these  four  symmetrical  situations,  I 
would  suggest  a  way  of  disposing  their  elements  with  a 
view  to  seeking  states  of  mind  and  soul  less  familiar.  We 
have  just  seen  these  forces  marshalled :  -  Passion  (vice, 
etc.) ;  pure  affection  (for  parents,  friends,  benefactors,  and 
particularly  devotion  to  their  honor,  their  happiness,  their 
interests) ;  reasons  of  state  (the  success  of  a  compatriot,  of 
a  cause,  of  a  work) ;  egoism  (will  to  live,  cupidity,  ambition, 
avarice,  vanity);  honor  (truthfulness,  feminine  chastity, 
promises  to  God,  filial  piety).  Oppose  these  to  each  other, 
two  by  two,  and  study  the  ensuing  conflicts. 

The  first  cases  produced  will  be  those  already  cited. 
Here  follow  other  and  newer  ones:  -  a  passion  or  vice 
destroying  interests  of  state  (for  in  "Antony  and  Cleo- 
patra" it  is  only  the  royal  pomp  of  the  two  lovers  which  is 
impressive;  one  does  not  reflect  upon  the  peril  of  their 
peoples);  egoism  (in  the  form  of  ambition,  for  example) 
struggling  with  faith  in  the  soul  of  man,  a  frequent  case 
in  religious  wars;  egoism  in  this  ambitious  guise  overcom- 
ing natural  affection  (the  plotter  denying  or  sacrificing  his 
father,  mother  or  friend  offers  a  fine  study);  a  conflict 
between  personal  honor  and  reasons  of  stale  (Judith  in  the 
arms  of  Holof ernes;  Bismarck  falsifying  the  despatch  of 
his  master).  Then  oppose  the  various  nuances  to  each 
oilier  (the  hero  torn  between  his  faith  and  the  honor  of  his 
people,  and  so  on).  Subjects  will  spring  up  in  myriads. 
Special  notice  -the  neo-classic  tragedy  having  proved 
itself  dead,  -    to  psychological  lid  ion.  its  legatee). 


TWENTY-FOURTH  SITUATION 

RIVALRY  OF  SUPERIOR  AND  INFERIOR 

(The  Superior  Rival;  the  Inferior  Rival;  the  Object) 

I  would  have  preferred  to  make  of  this  and  the  following 
(Adultery)  a  single  situation.  The  difference  lies  in  a 
contract  or  a  ceremony,  of  variable  importance  according 
to  the  milieu,  and  which  in  any  case  does  not  materially 
change  the  dramatic  emotions  springing  from  the  love 
contest;  even  this  difference  becomes  quite  imperceptible 
in  polygamous  societies  (Hindu  drama).  Thus  I  would 
rather  have  created  but  one  independent  situation,  of 
which  the  other  should  be  a  nuance.  But  I  fear  I  should 
be  accused  of  purposely  compressing  modern  works  into 
the  smallest  possible  number  of  categories,  for  the  two 
which  we  are  now  to  analyze  contain  the  major  part  of 
them. 

We  have  already  remarked  that  between  "Hatred  of 
Kinsmen"  and  "Rivalry  of  Kinsmen"  the  sole  difference 
lies  in  the  fact  that  in  the  latter  there  is  embodied  in 
human  form  the  Object  of  dispute,  the  "casus  belli."  For 
the  same  reason  we  may  bring  together  the  situations 
"Rivalry  of  Superior  and  Inferior,"  "Adultery,"  and  even 
"Murderous  Adultery,"  and  distinguish  them  from  all  the 
situations  which  portray  struggle  pure  and  simple  (V, 
VII,  VIII,  IX,  X,  XI,  XXX,  XXXI).  However,  the 
beloved  Object  will  more  naturally  appear  in  the  present 
cases  of  sentimental  rivalry  than  she  could  in  the  "Rivalry 
of  Kinsmen,"  and  nowhere  does  a  more  favorable  oppor- 
tunity present  itself  to  the  dramatic  poet  for  portraying 
his  ideals  of  love. 

These  cases  are  divided  first  according  to  sexes,  then 
according  to  the  degrees  of  difference  in  the  rank  of  the 
rivals. 

76 


TWENTY-FOURTH  SITUATION  77 

A  —  Masculine  Rivalries  (1)  —  Of  a  Mortal  and  an 
Immortal :  "Mrigancalckha"  by  Yiswanatha;  "Heaven 
and  Earth"  by  Byron;  "Polypheme"  (Samain).  Of  Two 
Divinities  of  Unequal  Power:  "Pandore"  by  Vol- 
taire. 

(2)  -     Of   a    Magician   and   an    Ordinary   Man:- 
"Tanis  et  Zelide,"  by  Voltaire. 

(3)  -  -  Of  Conqueror  and  Conquered:  -  -  "Malati  and 
Madhava"  by  Bhavabuti;  "Le  Tribut  de  Zamora" 
(Gounod,  1881);  "LeSais"  (Mme.  Ollognier,  1881).  Of 
Victor  and  Vanquished:  -Voltaire's  "Alzire."  Of  a 
Master  and  a  Banished  Man:  -  "Appius  and  Virginia" 
by  Webster;  "Hernani"  and  "Mangeront-Ils?"  by  Hugo; 
"Dante"  (Godard,  1890).  Of  Usurper  and  Subject:  - 
"Le  Triumvirat"  by  Voltaire. 

(4)  -Of  Suzerain  King  and  Vassal  Kings:  -  Cor- 
neille's  "Attila." 

(5)  -  -  Of  a  King  and  a  Noble:  -  "The  Earthen  Toy- 
Cart"  by  Sudraka;  "The  Mill"  and  "Nina  de  Plata"  by 
Lope;  "Ag&silas and  Surena"  bv  Corneille;  "Demetrius"  by 
Metastasio;  "Le  Fils  de  Porthos"  (Blavet  1886). 

(6)  Of  a   Powerful    Person   and   an    Upstart: 
"Don  Sanche"  by  Corneille;  "La  Marjolaine"  (Richepin 
fils.  1907). 

(7)-  Of  Rich  and  Poor:  "La  Question  d'Argent" 
by  Dumas;  "La  Nuit  de  Saint -.lean"  i  Erckmann-Chatrian 
and  Lacome);  "En  Greve"  (Hirseh,  1885);  "Surcouf" 
(Planquette,  1887);  "L' Attentat."  (Capus  and  Descaves, 
1906)  "La  Barricade"  (Bourget,  l910);"La  Petite  Milliar- 
daire"  (Dumay  and  Forest,  L905).  In  fiction:  pari  of 
"Toilers  of  the  Sea."  Relative  inequality:  "Mon  Ami 
Teddy"  (Rivoire  and  Besnard,  L910  . 

(8)  of  an  Honored  Man  and  a  Suspected  One: 
"I/Obstacle"  (Daudet,  L890);  "Le  Drapeau"  (Moreau, 
1879);  "Devanl  I'Ennemi"  (Charton,  L890);  ".lack  Tem- 
pgte"  (Elzear,  L882);  "La  Bucheronne"  (C.  Edmond, 
1889).  In  comedy:  "Le  Manage  de  Mile.  Boulemans" 
Fonson  and  Wicheler,  L9U  . 

9        Rivalry  of  Two  who  Are  Almost   Equal: 
"Dhourtta  Samagana,"  the  rivals  here  being  master  and 
disciple,  as  is  also  the  case  in  "Maitres  Chanteurs,"  but 


7s  THIRTY-SIX   DRAMATIC  SITUATIONS 

not   in  "Glatigny"   (Mendes,   1906),  nor  in  "Bohemos" 
Zamacois,  1907). 

(10)  -  Rivalry  of  Equals,  One  of  Whom  Has  in  the 
Past  Been  Guilty  of  Adultery:  --  "Chevalerie  Rusti- 
que"  (Verga,  1888). 

(11)  -  Of  a  Man  Who  is  Loved  and  One  Who  Has 
Not  the  Right  to  Love:  --  "La  Esmeralda." 

(12) -Of  the  Two  Successive  Husbands  of  a 
Divorcee  -  -  "Le  Dedale"  (Hervieu,  1903).  By  multiply- 
ing the  number  of  husbands  good  comic  effects  might  be 
secured. 

B  -  Feminine  Rivalries,  (1)  -  -  Of  a  Sorceress  and 
an  Ordinary  Woman:  "La  Conquete  de  la  Toison 
d'Or"  by  Corneille:  "La  Sorciere"  (Sardou,  1903). 

(2) --Of  Victor  and  Prisoner:  -"Le  Comte  d' 
Essex"  by  Thomas  Corneille;  the  "Marie  Stuart"  of 
Schiller  and  also  of  Samson. 

(3)  -  -  Of  Queen  and  Subject:  -  -  "Marie  Tudor"  and 
"Amy  Robsart"  by  Hugo;  "Le  Cor  Fleuri"  (Mikhael 
and  Herold);  "Varennes"  (Lenotre  and  Lavedan,  1904). 
The  title  of  this  sub-class  is,  it  will  be  remembered,  the 
only  one  cited  of  the  so-called  "Twenty-Four  Situations" 
of  Gerard  de  Nerval;  we  might  indeed  include  under  this 
denomination  the  examples  of  B  1,  2  and  4.  But  at  most 
it  can  constitute  only  a  half  of  one  of  the  four  classes  of 
"Rivalry  of  Superior  and  Inferior,"  which  itself  has  but 
the  importance  of  one  situation  in  a  series  of  thirty-six. 

(4) --Of  a  Queen  and  a  Slave:  -  -  "Bajazet"  by 
Racine;  "Zulime;"  part  of  "Une  Nuit  de  Cteopatre"  (from 
Gautier,  by  V.  Masse,  1885). 

(5) -Of  Lady  and  Servant:  --  "The  Gardener's 
Dog"  by  Lope  de  Vega  (wherein  may  be  found  what  is 
perhaps  the  most  successful  of  the  many  attempted  por- 
traits of  an  amoroiLs  "grande  dame"). 

(6)  -  -  Of  a  Lady  and  a  Woman  of  Humbler  Posi- 
tion: --  "Francois-les-bas-bleus"  (Messager,  1883);  "Le 
Friquet"  (Willy  and  Gyp,  1904);  "Petite  Hollande"  (S. 
Guitry,  1908);  "L'Ane  de  Buridan"  (de  Fleurs  and  de 
Caillavet,  1909);  "Trains  de  Luxe"  (Hermant,  1909). 
Of  a  Lady  and  Two  Women  of  Humbler  Class:  — 
"Les  Passageres"  (Coolus,  1906). 


TWENTY-FOURTH  SITUATION  79 

(7)  Rivalry  of  Two  Who  Are  Almost  Equals, 
Complicated  by  the  Abandoment  of  One  (this  tends 
toward  A  (1)  of  Situation  XXV):  --  Corneille's  "Ari- 
ane;"  "Benvenuto"  (Diaz,  1890).  In  fiction:  "La  Joie 
de  Vivre." 

(8)  -  Rivalry  Between  a  Memory  or  an  Ideal  (That 
of  a  Superior  Woman)  and  a  Vassal  of  Her  Own:  - 
"Semiramide  Riconosciuta"  by  Metastasio;  "Madame 
laMort"byRachilde  (in  which  the  field  of  struggle  is  sub- 
jective); "La  Morte"  by  Barlatier;  "L'Image"  by  Beau- 
bourg.  Symmetrical  case  in  the  masculine:  "The  Lady 
from  the  Sea,"  by  Ibsen. 

(9)  -  Rivalry  of  Mortal  and  Immortal:  -"La 
Dame  a  la  Faulx"  (Saint-Pol  Roux). 

C  -  Double  Rivalry  (A  loves  B,  who  loves  C,  who 
loves  D):  -  -  Metastasio's  "Adrien;"  Lessing's  "Emilia 
Galotti;"  "La  Fermiere"  (d'Artois,  1889);  "Ascanio" 
(Saint-Saens,  1890);  "Les  Deux  Homines"  (Capus,  1908); 
"Le  Circuit"  (Feydeau  and  de  Croissel .  L909);  "L' Article 
301"  (Duval,  1909).  It  is  permissible  to  extend  the  rivalry 
to  three,  four,  etc.,  which  will  make  it  less  commonplace, 
but  will  not  greatly  vary  the  effects,  although  sometimes 
the  chain  will  end  in  a  complete  circle  (that  is  to  say,  D 
will  love  A),  or  a  partial  one  (D  returning  the  love  of  ( '  . 

D  Oriental  Rivalries:  We  are  beginning  to  take 
account  of  the  fact  that  the  divorce  law  was  obtained 
chiefly  through  the  efforts  of  our  dramatic  writers,  less 
because  they  were  convinced  of  its  righteousness  than 
because  they  fell  the  need  of  a  renewal  and  increase  of 
their  limited  combinations.  They  might,  indeed,  have 
breathed  a  fresher  and  purer  air  by  turning  toward  Hindu 
polygamy!  Goethe,  Theophile  Gautier  who  foresaw  the 
decadence  of  woman  through  the  extension  and  increase 
of  vice),  Maurice  Barres  "l/Knnemi  des  Lois"  seem  to 
have  felt  something  of  the  sort.  We  could  wish  that  the 
misunderstandings  of  the  modem  home,  in  winch  archaic 
fidelity  and  genuine  monogamy  have  almost  ceased  to 
exist,  on  one  side  especially,  might  be  settled  with  a 
modicum  of  this  spirit  of  tolerance. 

dj  Rivalry  of  Two  Immortals:  "The  Loves  of 
Krishna"  by  Roupa. 


80  THIRTY-SIX  DRAMATIC  SITUATIONS 

(2)  -  Of  Two  Mortals:  -  -  "Agnimitra  and  Malavika," 
by  Kalidasa. 

(3)  Of  Two  Lawful  Wives:    -  "The  Necklace,"  by 

Sri  Harshadeva;  "The  Statue"  by  Rajasekhara. 

To  the  relative  rank  of  the  two  rivals  there  is  added, 
as  a  means  of  varying  the  theme,  the  position,  with 
respect  to  them,  of  the  beloved  Object.  The  aspects  of 
the  struggle  will  depend,  in  fact,  upon  how  near  the  prize 
may  be  to  one  of  the  adversaries,  or  how  distant;  upon 
whether  the  Object  be  of  a  rank  inferior  to  both  rivals, 
or  midway  between  the  two,  or  even  superior  to  both. 


TWENTY-FIFTH  SITUATION 

ADULTERY 
(A  Deceived  Husband  or  Wife;  Two  Adulterers) 

Without  deserving  to  constitute  a  situation  of  itself 
alone,  Adultery  yet  presents  an  interesting  aspect  of  Theft 
(action  from  without)  combined  with  Treason  (action 
within ).  Schiller,  following  the  example  of  Lope,  was 
pleased  to  idealize  brigandage;  Hugo  and  the  elder  Dumas 
undertook  for  adultery  a  similar  paradox;  and,  developing 
the  process  of  antithesis  by  which  were  created  "Triboulet" 
and  "Lucrece  Borgia,"  they  succeeded,  once  for  all 
and  quite  legitimately.  The  folly  lies  in  the  belief  of  the 
unthinking  crowd  in  the  excellence  of  the  subject  thus 
presented;  in  the  public's  admiration  for  the  "Antonys" 
-  but  the  public  has  ended  by  preferring  the  moving 
pictures  to  them. 

First  Case:  -  The  author  portrays  the  Adulterer,  the 
stranger  in  the  house,  as  much  more  agreeable,  hand- 
somer, more  loving,  bolder  or  stronger  than  the  deceived 
husband  .  .  .  Whatever  arabesques  may  cover  the 
simple  and  fundamental  fad  of  Larceny,  whatever  com- 
plaisance may  be  shown  by  a  tired  public,  there  remains 
nevertheless,  beneath  it  all,  a  basis  of  granite  the  old- 
fashioned  conscience;  to  it ,  I  he  thing  which  is  here  vaunted 
is  simply  1  he  breach  of  t  he  Word  of  Honor  of  a  cont  ract 
that  word,  that  promise  which  was  obeyed  by  the  Homeric 
gods  and  by  the  knights  of  Chivalry  no  less  than  by  our- 
selves; that  base  of  every  social  agglomeration;  that  which 
savages  and  which  convicts  resped  between  themselves; 
thai  primary  source  of  order  in  the  world  of  action  and  of 
thought.      The    spectators'   attention    may  of  course  be 

-I 


82  THIRTY-SIX   DRAMATIC  SITUATIONS 

momentarily  turned  from  a  point  of  view  so  strict,  and 
quite  naturally;  through  the  heresies  of  the  imagination 
almost  anything  may  evoke  a  laugh.  Do  we  not  laugh 
heartily  at  the  sight  of  a  fat  man  tumbling  ridiculously 
down  a  flight  of  steps,  at  the  bottom  of  which  he  may 
break  his  neck?  Anything,  likewise  may  evoke  our  pity; 
we  have  pity  for  the  perjuries  of  the  gambler  and  the 
drunkard,  but  it  is  mingled  with  contempt.  Now,  is  it 
this  sort  of  sad  contempt  which  our  dramatists  wish  to 
claim  for  their  attractive  young  adulterers,  as  the  reward 
of  so  much  care  and  effort?  If  not,  the  effort  has  been  a 
mistaken  one. 

Second  Case :  -  -  The  Adulterer  is  represented  as  less 
attractive  and  sympathetic  than  the  unappreciated  hus- 
band. This  forms  the  sort  of  play  known  as  "whole- 
some," which  as  a  matter  of  fact  is  merely  tiresome.  A 
man  whose  pocket-book  has  been  stolen  does  not  on  that 
account  grow  greater  in  our  eyes,  and  when  the  informa- 
tion which  he  is  in  a  position  to  furnish  us  is  once  obtained, 
our  attention  is  turned  from  him  and  directed  toward  the 
thief.  But  if  the  latter,  already  far  from  heroic  in  his 
exploit,  is  in  turn  portrayed  as  still  less  interesting  than 
his  dupe,  he  merely  disgusts  us  -  -  and  the  adulterous  wife 
appears  but  a  fool  to  have  preferred  him.  Then  (with  that 
childishness  which  most  of  us  retain  beneath  our  sophisti- 
cation), scenting  a  foregone  conclusion  in  the  lesson  which 
the  author  intends  for  us,  and  suspecting  falsehood  at  the 
bottom  of  it,  we  grimace  with  irritation,  disappointed  to 
perceive,  behind  the  story  presented  for  our  entertain- 
ment, the  vinegarish  smile  of  the  school-teacher. 

Third  Case:  -  The  deceived  Husband  or  Wife  is 
Avenged.  Here,  at  last,  something  happens!  But  this 
vengeance,  unfortunately,  is  merely  one  of  the  cases  of 
the  Third  Situation. 

Thus  we  shall  not  succeed  with  our  Twenty-fifth  Situa- 
tion except  by  treating  it  in  a  broadly  human  spirit,  with- 
out dolefulness  and  without  austerity.  It  will  not  be 
necessary  to  defend  the  thief  nor  the  traitor,  nor  to  take 
the  part  of  their  dupe.  To  comprehend  them  all,  to  have 
compassion  upon  all,  to  explain  them  all  —  which  is  to  say 


TWENTY-FIFTH  SITUATION  83 

to  comprehend  oneself,  to  have  pity  upon  oneself,  and  to 
explain  oneself  -  -  this  is  the  real  work  to  be  accomplished. 
A -A  Mistress  Betrayed;  (1)  -  -  For  a  Young 
Woman:  Sophocles'  "Women  of  Colchis;"  the 
"Medeas"  of  Seneca  and  of  Corneille;  "Miss  Sara  Samp- 
son" by  Lessing;  "Lucienne"  (Gramont,  1890).  These 
examples  are,  because  of  the  final  vengeance,  symmetrical 
to  the  masculine  of  Class  B. 

(2)  -  -  For  a  Young  Wife  (the  marriage  preceding  the 
opening  of  the  play):--"Un  Voyage  de  Noces"  (Tier- 
celin,  1881). 

(3)  -  -  For  a  Girl:    -  "La  Veine"  (Capus,  1901). 
(B)--A  Wife  Betrayed:  (1)  -  -For  a  Slave,   Who 

Does  Not  Love  in  Return:  -  "Maidens  of  Trachis"  by 
Sophocles;  "Hercules  on  (Eta"  by  Seneca  (the  first  part; 
as  to  the  rest,  see  "Imprudence;")  the  "Andromache"  of 
Euripides  and  that  of  Racine  (in  which  this  is  one  side  of 
the  drama;  for  the  other,  see  "Sacrifices  for  Kinsmen"). 

(2)  -  -  For  Debauchery:-  "Numa  Roumestan"  by 
Daudet;  "Francillon"  by  Dumas;  "Serge  Panine"  by 
Ohnet;  the  opening  part  of  "Meres  Ennemies,"  which 
afterward  turns  to  "Hatred  of  Kinsmen." 

(3)  For  a  Married  Woman  (a  double  adultery):  - 
"La  Princesse  Georges"  and  "L'Etrangere"  by  Dumas; 
"Monsieur  de  Moral"  (Tarbe,  L887);  "Pes  Menages  de 
Paris"  (Raymond,  1886);  "Le  Depute  Leveau"  (Lemai- 
tre  . 

(4)  With  the  Intention  of  Bigamy:  The 
"AJmaeons"  of  Sophocles  and  of  Euripides. 

-  For  a  Young  Girl,  Who  Does  Not  Love  in 
Return:  Shakespeare's  "Henry  VIII,"  and  that  of 
Sainl-Saens;  Allieri's  "liosamonde"    ;i  combination  of  the 

presenl  and  the  preceding  situations,  for  it  is  also  a  simple 
Rivalry  of  King  and  Subjecl  i. 

6  \  Wife  Envied  by  a  Young  Girl  Who  is  in 
Love  With  Her  Husband:*  "Stella"  by  Goethe;  "Dern- 
ier Amour"  ( Ihnei .  1890  , 

7  By  a  Courtesan:      "Miss  Fanfare"  (Ganderax, 

PSSl,  see  p,  'J   ;  "Proserpine"     \  a<(|iK  fie  ;i  in  I  Saint -Sa<  1 1  . 

1887  :    "La    Comtesse    FYedegonde"    (Amigues,    L881 
"Myrane"  (Bergeat,  L890  , 


84  THIRTY-SIX   DRAMATIC  SITUATIONS 

Rivalry  Between  a  I/awful  Wife  Who  is  Anti- 
pathetic and  a  Mistress  Who  is  Congenial:  "C'est 
la  Loi"  (Cliquet,  1882);  "Les  Affranchis"  (Madame  Len- 
e>u,  1911). 

(9)  -Between  a  Generous  Wife  and  an  Impas- 
sioned Girl:  — "La  Vierge  Folle"  (Bataille,  1910);  "La 
Femme  de  Demain"  (Arthur  Lefebvre,  1909). 

C  (1)  -  -  An  Antagonistic  Husband  Sacrificed  for  a 
Congenial  Lover :-- "Angelo ;"  "Le  Nouveau  Monde" 
by  Villiers  de  l'Isle  Adam;  "Un  Drole"  (Yves  Guyot, 
1889);  "Le  Mari"  (Nus  and  Arnould,  1889);  "Les  Ten- 
ailles"  (Hervieu);  "Le  Torrent"  (Donnay);  "Decadence" 
(Guinon,  1901);  "Page  Blanche"  (Devore,  1909). 

(2)  -  -  A  Husband,  Believed  to  be  Lost,  Forgotten 
for  a  Rival:  --  "Rhadamiste  et  Zenobie"  by  Cr^billon; 
"Jacques  Damour"  by  Zola.  The  "Zenobie"  of  Metas- 
tasio,  by  the  faithful  love  retained  for  her  husband,  forms 
a  case  unique  (!)  among  the  innumerable  dramas  upon 
adulterous  passions.  Compare  "Le  Declale"  (see  XXIV, 
A  12). 

(3)  -  A  Commonplace  Husband  Sacrificed  for  a 
Sympathetic  Lover:  "Diane  de  Lys"  by  Dumas; 
"Tristan  and  Isolde"  by  Wagner  (with  the  addition  of 
"Madness,"  produced  by  a  love-potion);  "Francoise  de 
Rimini"  (A.  Thomas,  1882);  "La  Serenade"  (Jean  Jullien, 
1887);  "L' Age  Critique"  (Byl,  1890) ;  "Antoinette  Sabrier" 
(Coolus,  1903);  "La  Montansier"  (Jeofrin,  de  Flers  and  de 
Caillavet,  1904);  "Connais-toi"  (Hervieu,  1909).  The 
same  case  without  adultery:  "Sigurd"  (Reyer,  1885); 
"La  Comtesse  Sarah"  (1886). 

(4j  -A  Good  Husband  Betrayed  for  an  Inferior 
Rival:-  "L'Aveu"  (Sarah  Bernhard,  1888);  "RevolteV' 
(Lemaitre,  1889);  "La  Maison  des  Deux  Barbeaux" 
(Theuriet,  1885; ;  "Andre"  del  Sarte"  (Alfred  de  Musset); 
"La  Petite  Paroisse"  (Daudet,  1911);  "Le  Mannequin 
d'Osier"  (France,  1904);  "La  Rencontre"  (Berton, 
1909).  Cases  of  preference  without  adultery:  "Smilis" 
by  Aicard;  "Les  Jacobines"  by  Hermant  (1907). 

(5)  -  For  a  Grotesque  Rival :  -  -  "The  Fatal  Dowry" 
by  Massinger. 


TWENTY-FIFTH  SITUATION  85 

(6)  -  -  For  an  Odious  Rival:  -  -  "Gerfaut"  (from  C.  de 
Bernard,  by  Moreau,  1886);  "Cceur  a  Cceur"  (Coolus, 
1907). 

(7)  -  -  For  a  Commonplace  Rival,  By  a  Perverse 
Wife:  — "La  Femme  de  Claude"  by  Dumas;  "Pot- 
Bouille"  by  Zola;  "Rivoli"  (Fauehois.  1911):  "Les 
Malefiiatre"  (Porto-Riche,  1904);  "Soeurette"  (Borteau- 
Loti).     In   fiction:  "Madame   Bovary." 

(8)  For  a  Rival  Less  Handsome,  but  Useful  (with 
comic  false  suspicions;  that  is,  suspicions  afterward 
thought  to  have  been  false):-  "L'Echeance"  (Jean 
Jullien,  1889). 

D  (1)  -  -  Vengeance  of  a  Deceived  Husband  (dramas 
built  upon  a  crescendo  of  suspicion):-  "The  Physician 
of  His  Own  Honor"  and  "Secret  Vengeance  for  Secret 
Outrage"  by  Calderon;  "L'Affaire  Clemenceau"  by 
Dumas;  "The  Kreutzer  Sonata"  (after  Tolstoi,  1910); 
"La  Legende  du  Coeur"  (Aicard,  1903);  "Paraitre" 
(Donnay,  1906) ;  "Les  Miroirs"  I  Roinarrd ) ;  "The  Enigma" 
by  Hervieu  'which  borrows  something  from  Situation  XI 
of  this  name.  A  vengeance  purely  moral:  "Apres  Moi" 
(Bernstein,  1911);  financial:  "Samson,"  by  the  same 
author,  (1907  . 

(2)       Jealousy  Sacrificed  for  the  Sake  of  a  Cause: 
tending  toward    Sacrifices  for  an  Ideal"):      "Les  Jacob- 
ites"   Coppee,  L885);  "Patrie"  (Paladilhe,  L886).     Sac- 
rificed out  of  Pity:      "La  Famille  d'Armelles"  (Mamas, 
L88I 

E3       A  Husband  Persecuted  by  a  Rejected  Rival: 
"Raoul  de  Crequi"    Delayrac,  L889).    This  case  is  sym- 
metrical to  B  V,  and  > >< * i J 1  proceed   in   the  direction  <>i 
"Murderou  i  Adulterj 


TWENTY-SIXTH  SITUATION 

CRIMES  OF  LOVE 

(The  Lover;  the  Beloved) 

This  is  the  only  tragic  situation  of  all  those  built  upon 
Love,  that  subject  being  one  essentially  belonging  to 
comedy  (see  XXVIII  and  XXIX). 

Eight  species  of  erotic  crimes  may  be  pointed  out:  — 

First:  Onanism,  that  "solitary  vice"  which  does  not 
lead  to  action,  can  furnish  only  melancholy  silhouettes 
such  as  the  legend  of  Narcissus  and  "Chariot  s'amuse," 
or  certain  grotesqueries  of  Aristophanes,  unless  it  be  made 
the  basis  for  a  study  of  the  weakening  and  collapse  of  the 
Will,  in  which  case  it  might  be  grouped  with  drunkenness, 
gambling,  etc.,  in  Situation  XXII. 

Second:  Violation,  like  murder,  is  but  an  act,  generally 
a  brief  one  and  not  a  situation;  at  most  it  approaches 
"Abduction."  Even  the  consequences  to  the  perpetrator, 
like  those  of  the 

Third:  Prostitution  and  its  succeedant  gallantry  and 
Juanism  (repetition  of  acts),  do  not  become  dramatic 
unless  pursued  by  punishment,  in  which  case  they  belong 
to  the  Fifth  Situation.  Nevertheless,  if  impunity  be 
secured,  the  taste  for  violation  and  for  prostitution  tends 
toward   the   Twenty-Second. 

Fourth:  Adultery,  whose  character  of  theft  has  given 
rise  to  special  situations  already  studied. 

Fifth :  Incest  is  divided  in  two  principal  directions.  It 
may  be  committed  in  an  ascendant-descendant  line,  in 
which  case  it  implies  either  filial  impiety  or  an  abuse  of 
authority  analogous  to  that  which  we  shall  find  in  the 
Eighth  variety  of  criminal  love.  It  may  also  occur  upon 
what  may  be  called  a  horizontal  line;  that  is,  between 
consanguines  or  persons  related  by  marriage. 

86 


TWENTY-SIXTH  SITUATION  87 

A  (l)--A    Mother    in    Love    With    Her    Son:- 

"Semiramis"  by  Manfredi,  and  by  Crebillon;  to  explain 
and  extenuate  this  case,  the  latter  author  has  first  used 
the  Eighteenth  (Involuntary  Crimes  of  Love);  "Les  Cuirs 
de  Boeuf"  (Polti,  1898).  Inverse  case:  "Le  Petit  Ami" 
by  Leautaud. 

(2)  -  -  A   Daughter   in   Love   With   Her   Father:  - 
Alfieri's  "Myrrha,"  whose  psychology  is  drawn  from  that 
of  "Phedre." 

(3)  -  -  Violation  of  a  Daughter  by  a  Father:  -  -  "The 
Cenci"  by  Shelley;  the  story  of  the  Peau  d'ane  (intention 
only). 

B  (1)  -  -  A  Woman  Enamored  of  Her  Stepson: - 
"Iobates"  and  "Phaedra"  by  Sophocles;  the  "Hippolytus" 
of  Euripides  and  of  Seneca;  "Phedre"  by  Racine.  In 
comedy:  "Madame  l'Amirale"  (Mars  and  Lyon,  1911). 
In  almost  none  of  the  foregoing  cases,  it  will  be  observed, 
is  there  a  reciprocity  of  desire,  whereas  the  passion,  here- 
tofore solitary,  is  shared,  and  the  crime,  unconscious  at 
least  on  one  side  in  "Myrrha,"  is  boldly  committed  in 

(2)  -  -  A  Woman  and  Her  Stepson  Enamored  of 
Each  Other:  -  Zola's  "Renee"  (drawn  from  his  story 
"Curee,"j  and  similar  to  the  quasi-incestuous  passion  of 
"Dr.  Pascal."  The  love  is  platonic  in  Alfieri's  "Philip 
II,"  and  Schiller's  "Don  Carlos." 

(3)  -A  Woman  Being  the  Mistress,  at  the  Same 
Time,  of  a  Father  and  Son,  Both  of  Whom  Accept 
the  Situation:      "L'Ecole  des  Veufs"  (Ancey,  L889  , 

C  (1)  -  A  Man  Becomes  the  I. over  of  Mis  Sister-in- 
Law:  "La  Sang-Brule"  (Bouvier,  1885);  "Le  Con- 
science de  I'Enfant"  (Devore,  L889  .  The  Man  Alone 
Enamored:  "Le  Sculpteur  de  Masques"  (Cromelynck, 
L911  . 

2  A  Brother  and  Sister  in  love  With  Each 
other:  Euripides  "TIoIum"  "Canace"  by  Speroni; 
••  "li  Pity  She's  a  Whore,"  Ford's  masterpiece;  "La 
Citta  Morta"  1>.\-  d'Annunzio. 

Even  after  these  works,  there  remains  much  more  than 

a  Kl(,aninj_';  an  ample  ham-si  is  still  before  us.  We  may 
extend  Class  A  to  include  the  complicity  of  both  parties 
(Nero  and  Agrippina  furnish  an  example,  according  to 


88  THIRTY-SIX  DRAMATIC  SITUATIONS 

Suetonius);  a  similar  example,  although  fragmentary, 
exists  for  A  2,  in  the  beginning  of  Shakespeare's  "Pericles." 
B  1  may  be  reversed,  the  stepson's  passion  being  unre- 
quited by  his  father's  wife,  a  case  which  is  certainly  not 
uncommon.  We  may  also  suppress  the  complicity  in  B  3, 
in  C  1,  and  in  C  2,  allowing  the  infatuation  to  subsist  upon 
one  side  only.  Without  going  so  far  as  the  criminal  act, 
a  study  of  mere  temptations  or  desires,  well  or  ill  controlled, 
has  furnished  subtile  chapters  in  the  psychologies  of 
Seventeenth  Century  grandes  dames,  such  as  Victor 
Cousin  took  delight  in. 

Finally,  we  may  interlace  the  threads  of  each  of  these 
species  of  incest  with  one  of  the  seven  other  classess  of 
Crimes  of  Love ;  under  the  form  of  ignorance,  the  fifth  and 
sixth  classes  are  mingled  in  one  of  the  episodes  of  "Daph- 
nis  and  Chloe."  Add  the  usual  incidental  rivalries,  adul- 
teries, murders,  etc. 

Sixth:  Homosexuality  in  its  two  senses,  the  branches 
of  pederasty  and  tribadism: 

D  (1)  -  -  A  Man  Enamored  of  Another  Man,  Who 
Yields: -- Example  from  fiction:  "Vautrin."  Dramatic 
examples:  the  "Laius"  of  Aeschylus;  the  "Chrysippus" 
of  Euripides.  The  latter  tragedy  appears  to  have  been 
one  of  the  finest,  and  perhaps  the  most  moving,  of 
all  antiquity.  Three  situations  were  there  superposed 
with  rare  success.  Laius  having  conceived  a  passion, 
unnatural  and  furthermore  adulterous,  for  the  young 
Chrysippus,  an  epithalamium  as  terrible  as  that  of  Ford 
must  have  resulted,  for  here  appeared  and  spoke  the  first 
man  who  had  ever  experienced  such  desires  and  dared  to 
express  and  gratify  them,  and  in  his  words  lay  the  explana- 
tion of  the  wavering  and  fall  of  Chrysippus.  Then  fol- 
lowed the  most  indignant  and  pitiless  jealousy  on  the  part 
of  Jocaste,  wife  of  Laius.  Against  Chrysippus  she  roused 
the  old  envy  of  the  young  man's  two  brothers,  an  envy 
of  the  same  type  as  that  which  armed  the  sons  of  Jacob 
against  Joseph,  but  an  envy  which  shows  itself  strangely 
menacing  at  the  mere  announcement  of  the  names  of  these 
two  brothers,  --  Atreus  and  Thyestes!  The  fratricide  is 
accomplished,  to  the  fierce  joy  of  the  queen;  Laius  learns 
the  details  from  the  lips  of  the  dying  Chrysippus  himself. 


TWENTY-SIXTH  SITUATION  89 

And,  in  some  prediction  --  doubtless  that  of  Tiresias, 
young  at  the  time  and  not  yet  deprived  of  sight  -  there 
dawns  the  destiny  of  the  two  great  families  of  tragedy  par 
excellence,  the  Labdaeides  and  the  Atrides,  beginning  in 
these  crimes  and  running  through  all  Greek  legend. 

The  tribadic  or  sapphic  branch  has  not  been  used  upon 
the  stage;  Mourey  alone  has  attempted  it,  but  in  vain  in 
his  "Lawn  Tennis."  The  objection  which  might  be 
urged  against  it  (and  which  probably  explains  why  the 
drama,  in  the  ages  of  its  liberty,  has  made  no  use  of  it)  is 
that  this  vice  has  not  the  horrible  grandeur  of  its  con- 
gener. Weak  and  colorless,  the  last  evil  habit  of  worn- 
out  or  unattractive  women,  it  does  not  offer  to  the  tragic 
poet  that  madness,  brutal  and  preposterous,  but  springing 
from  wild  youth  and  strength,  which  we  find  in  the  crim- 
inal passion  of  the  heroic  ages. 

Seventh:  Bestiality,  or  passion  for  a  creature  outside 
the  human  species.  Classed  in  general  as  a  vice,  it  is  of 
no  use  theatrically.     Nevertheless,  in 

E  -  -  A  Woman  Enamored  of  a  Bull:  -  "The  Cre- 
tans" of  Euripides  seems  to  have  revealed  the  emotions, 
after  all  conceivable,  of  this  "Ultima  Thule"  of  sexual  per- 
version. Better  than  anywhere  else,  evidently,  the  illogi- 
cal and  mysterious  character  of  the  life  of  the  senses,  the 
perversion  of  a  normal  instinct,  and  the  feeling  of  fatalism 
which  its  victims  communicate,  could  here  be  presented 
in  sad  and  awful  nudity. 

Eighth:  The  Abuse  of  Minor  Children  borrows  some- 
thing from  each  of  the  seven   preceding  varieties.     That 

LCh  a  subject  so  modern,  so  English  may  in  skilful 
hands  become  must   pathetic,  is  readily  apparent   to  those 

of  us  who  rvad,  a  few  years  ago,  the  "Pall  Mall  Gazette." 


TWENTY-SEVENTH  SITUATION 

DISCOVERY  OF  THE  DISHONOR  OF  A  LOVED  ONE 

(The  Discoverer;  the  Guilty  One) 

From  this  Situation  there  results,  almost  immediately, 
a  psychologic  struggle  similar  to  that  of  the  Twenty-Third 
"Sacrifice  of  Loved  Ones,"  but  without  the  attraction  of  a 
high  Ideal;  this  is  replaced,  in  the  present  action,  by  the 
lash  of  shame. 

A  (1)  -  Discovery  of  a  Mother's  Shame: - 
"Madame  Caverlet"  by  Augier;  "Odette"  and  "Georg- 
ette" by  Sardou;  "Madame  X"  (Bisson,  1908);  "Mrs. 
Warren's  Profession"  (Bernard  Shaw);  "Les  Quarts 
d'Heure"  (second  part;  Guiches  and  Lavedan,  1888). 
This  sad  destruction  of  a  child's  deepest  respect  and  rev- 
erence is  colored,  in  these  works,  by  the  terrors  of  the 
mother,  by  her  blushes,  by  her  remorse  before  the  conse- 
quences of  the  past;  through  this  last  point  the  action  ends 
in  the  Thirty-Fourth  (Remorse).  It  remains  unconnected 
in  the  second  part  of  the  "Marquis  de  Priola"  (Lavedan, 
1901). 

(2)  -  Discovery  of  a  Father's  Shame:  —  "Vieille 
Histoire"  (Jean  Jullien,  1891);  the  denouement  of  "Pierre 
et  Therese"  (Prevost,  1909). 

(3)  -  Discovery  of  a  Daughter's  Dishonor:  -  -  Part 
of  "La  Fille  du  Depute"  (Morel,  1881);  of  "Les  Affaires 
sont  les  Affaires"    (Mirbeau,  1902);  "L'Oreille  Fendue" 

Xepoty,  1908). 

B  (1)  -  -  Discovery  of  a  Dishonor  in  the  Family  of 
Ones  Fiancee:  -  -  "L'Absente"  (Villemer,  1889).  Refine- 
ments of  romance,  whose  mild  tragedy  consists  in  retard- 

90 


TWENTY-SEVENTH  SITUATION  91 

ing  the  signature  of  a  contract,  and  which  corresponds  also 
to  the  pseudo-Situation  XXX  (Forbidden  Loves).  Some- 
thing of  their  dullness  has  already  emanated  from  A  1 
and  A  2. 

(2)  —  Discovery  that  Ones  Wife  Has  Been  Violated 
Before  Marriage:  --  "Le  Secret  de  Gilberte"  (Massiac, 
1890).  Since  the  Marriage:  --  "Flore  de  Frileuse"  by 
Bergerat,  with  comic  denouement  thanks  to  a  "quid-pro- 
quo." 

(3)  —  That  She  Has  Previously  Committed  a  Fault: 

—  "Le  Prince  Zilah"  (Claretie,  1885);  part  of  Dumas' 
"Denise."  Common  instances:  Marriages  through  agen- 
cies. 

(4)  -  -  Discovery  that  Ones  Wife  Has  Formerly 
Been  a  Prostitute:  -  "Lena"  (Berton  and  Mme.  van 
Velde,  1886).     That  ones  mistress  has  been  a  prostitute: 

—  "Marion  Delorme."  The  same  situation,  from  the 
{joint  of  view  of  "Remorse"  (XXXIV),  is  encountered  in 
Zola's  "Madeleine." 

(5)  -  Discovery  of  Dishonor  on  the  Part  of  a  Lover 
(this  also  borders  upon  XXXIV:-  "Chamillae"  (Feuil- 
let,  1886);  "Le  Crocodile"  (Sardou,  L886  . 

(6)  Discovery  that  Ones  Mistress,  formerly  a 
Prostitute,  Has  Returned  to  Her  Old  Life  with  exten- 
uating circumstances):  "La  Dame  aux  Camellias" 
Dumas);  "La  Courtisane"  (Arnyyelde,  L905);  pari  of 
"Manon  Lescaut."  Bui  for  feminine  cunning,  would 
qoI  this  be  the  normal  course  of  all  "bonnes  fortunes?" 

(7)  Discovery  that  Ones  lover  is  a  Scoundrel,  or 
that  Ones  Mistress  is  a  Woman  of  Bad  Character: 
"Monsieur  Alphonse"  by  Dumas;  "Mensonges"  by  Emile 
Michelet.  Since  as  Palice  remarks)  liaisons  would  lasl 
forever  if  they  were  never  broken  nil',  and  since  the  two 
lovers,  who  certainly  know  cadi  <>t  her  well,  always  give  as 
the  reason  of  their  rupture  the  title  of  the  present  sub- 
class, 1  he  conclusion  is  as  easy  to  draw  as  it  is  initial  tering 

to  the  human  specie:-,.  The  Same  Discovery  Concern- 
ing a  So-Called   Kinji:        "Sire"     Lavclan.  L909). 

The  Same  Discovery  Concerning  Ones  Wile: 
"Le  Manage  d'Olympe"  by  Augier. 


92  THIRTY-SIX  DRAMATIC  SITUATIONS 

C       Discovery  that  Ones  Son  is  an  Assassin:  — 

"Werner"  by  Byron;  "La  Policiere"  (Montepin,  1889). 
The  surprise  is  intensified  in  cases  of  parricide.  Nuance 
C  is  capable  of  infinite  development. 

D  --  Might  constitute  a  distinct  situation;  there  is  not 
only  the  discovery,  but  the  duty  of  imposing  punishment 
as  well.  This  situation  might  serve  as  an  intermediary 
between  the  Twenty-Third,  "Duty  of  Sacrificing  Kins- 
men," and  the  Twenty-Seventh,  which  we  are  now  study- 
ing, and  which  would  thus  end  with  Class  C. 

(1)  -  -  Duty  of  Punishing  a  Son  Who  is  a  Traitor  to 
Country:  --  The  "Brutus"  of  Voltaire,  and  of  Alfieri. 
A  Brother  Who  is  a  Traitor  to  His  Party:  "Etu- 
diants  Russes"  by  Gilkin. 

(2)  -  -  Duty  of  Punishing  a  Son  Condemned  Under 
a  Law  Which  the  Father  has  Made:-  "L'Inflexible" 
(Parodi,  1884);  "Le  Tribun"  (Bourget,  1910);  "L'Apotre" 
(Loyson,  1911). 

(3)  -  -  Duty  of  Punishing  a  Son  Believed  to  be 
Guilty:  -  -  "Le  Regiment"  (Mary,  1890) ;  "L'As  de  Trefle" 
( Decourcelle,  1883).  This  approaches  XXXIII  (Judicial 
Error). 

(4)  -  Duty  of  Sacrificing,  to  Fulfill  a  Vow  of  Tyran- 
nicide, a  Father  Until  then  Unknown.  This  impru- 
dent vow  carries  us  back,  at  one  point,  to  the  Seventeenth 
(Imprudence),  and  at  another  point  the  striking  of  an 
unknown  parent  recalls  also  the  Nineteenth.  -  -  "Severo 
Torelli"  (Coppee,  1883). 

(5)  -  -  Duty  of  Punishing  a  Brother  Who  is  an 
Assassin :  -  "Casse-Museau"  (Marot,  1881).  From  this 
situation  the  kinsman-judge  escapes  for  a  moment,  only 
to  fall  into  D  3,  from  which  he  returns  with  resignation 
to  D  5. 

(6)  -  -  Duty  of  Punishing  Ones  Mother  to  Avenge 
Ones   Father: -- (Situation   IV  arrested   prematurely): 

-  "Le    Coeur    de  Se-hor"    (Michaud  d'Humiac).     The 
Fourth  is  less  in  evidence  in  "Simone"  (Brieux,  1908). 


TWENTY-EIGHTH  SITUATION 
OBSTACLES  TO  LOVE 
(Two  Lovers;  an  Obstacle) 

A  (1)     -  Marriage     Prevented     by     Inequality     of 

Rank:  -  "NiteW  and  "The  Chinese  Hero"  by  Metas- 
tasio:  "Le  Prince  Soleil"  (Vasseur,  1889);  second  act  of 
"La  Vie  Publique"  (Fabre,  1901);  "Ramuntcho"  (Pierre 
Loti,  1908);  "L'EmigrS"  (Bourget,  1908).  This  is  the 
sentimental-philosophical  Situation  of  a  great  number  of 
eighteenth  century  works  ("Nanine,"  etc. ),  in  which  a  lord 
invariably  falls  in  love  with  a  peasant  girl.  In  ( leorge 
Sand,  on  the  contrary,  it  is  always  a  lady  who  is  in  love 
with  a  man  of  inferior  rank;  a  sort  of  literature  which  at 
least  has  inspired  many  gallanl  adventures  of  our  own 
time.  The  addition  of  one  more  little  obstacle  the 
marriage  bond  furnishes  the  pretexl  for  the  real  intrigue 
of  "Ruy  Bias." 

2  Inequality  of  Fortune  an  Impediment  to 
Marriage:  "Myrtille"  and  in  part  "Friend  Fritz"  by 
Erckmann-Chatrian;  "L'Abbe  Constantin"  by  Halevy; 
"La  Petite  Amir"  Brieux,  L902);  "La  Plus  Faible" 
(Prevost,  L904  ;  "La  Veuve  Joyeuse"  (Meilhac,  Leon  and 
Stein.  L909  :  "!-<•  Danseur  Inconnu'*  Bernard,  L909): 
"La  Petite  Chocolatiere"    Gavault,  L909);  "Primeroser 

"Le    Kevc"     from    Zola's  story    by    Bruneau);   in    fiction; 

"Le  Bonheur  <\<->  Lames"  to  mention  only  the  more 
estimable  works,  leaving  ;Lside  the  endless  number  of 
trivial  plays  imitative  of  Scribe,  and  the  Romances  of 

9a 


94  THIRTY-SIX  DRAMATIC  SITUATIONS 

Poor  Young  Men,  Dames  Blanches,  etc.,  which  make  our 
ears  ring  with  confusing  additions  and  subtractions,  until 
the  unexpected  final  multiplication  -  "deus  ex  machina" 
-  which  suddenly  equalizes  the  two  terms  of  the  problem, 
the  two  fortunes  of  the  lovers,  with  the  most  admirably 
symmetrical  alignment  of  parallel  zeros  --  preceded,  oh 
joy!  oh  bliss!  on  one  side  as  on  the  other,  by  two  identical 
figures ! 

It  must  of  course  be  recognized  that  these  social  and 
conventional  inequalities  are  mere  puerile  details,  and  that 
the  lovers,  if  they  have  but  a  little  courage  and  sincerity, 
will  overcome  them  without  difficulty;  they  can  do  so  by 
simply  leaving  behind  them  titles  and  money,  and  in  a 
new  country,  under  other  names,  bravely  beginning  life 
again  together.  If,  instead  of  such  bagatelles,  we  might 
only  be  sometimes  shown  the  more  serious  obstacles  of 
inequality  of  ages,  of  characters,  of  tastes  —  which  are  at 
the  same  time  so  much  more  common ! 

They  are,  indeed,  so  frequent  that  a  general  theory 
might  be  established  with  regard  to  them.  The  first  love 
(twenty  years)  seeks  in  its  object  equality  of  rank  and 
superiority  of  age  (this  is  a  fact  well  known  to  those  who 
have  studied  the  cases  of  girl-mothers);  the  second  love, 
and  in  general  the  second  period  of  emotional  life  (thirty 
years),  addresses  itself,  audacity  having  been  acquired,  to 
superiors  in  rank  but  equals  in  age;  finally,  the  third  love, 
or  in  a  more  general  way  the  third  epoch  of  sentimental 
life,  inclines  by  preference  to  those  who  are  younger  and 
socially  inferior.     Naturally,  subdivision  is  here  possible. 

B  -  -  Marriage  Prevented  by  Enemies  and  Contin- 
gent Obstacles: --"Sieba"  (Manzotti,  1883);  "Et  Ma- 
Soeur?"  (Rabier,  1911);  "Le  Peche*  de  Marthe"  (Roch- 
ard,  1910);  all  fairy-plays,  since  the  "Zeam"  of  Gozzi.  In 
fine,  a  sort  of  steeple-chase  process  adapts  itself  to  this 
situation,  but  the  chase  is  not  one  in  which  several  rival 
steeds  and  riders  engage;  throughout  its  course  but  a 
single  couple  enters  upon  it,  to  end  at  the  shining  goal  with 
the  usual  somersault. 

C  (1)  -  -  Marriage  Forbidden  on  Account  of  the 
Young  Woman's  Previous  Betrothal  to  Another:  — 


TWENTY-EIGHTH  SITUATION  95 

"II  Re  Pastore"  by  Metastasio;  and  other  pieces  without 
number.  The  lovers  will  die  if  separated,  so  they  assure 
us.  We  see  them  make  no  preparations  to  do  so,  but  the 
spectator  is  good  enough  to  take  their  word  for  it;  the 
ardors,  the  "braises"  -  to  use  the  exact  language  of  the 
"grand  siecle"  -and  other  nervous  phenomena  in  hypo- 
chondriacs of  this  sort  cannot  but  offer  some  interest  — 
not,  however,  for  long. 

(2)  The  Same  Case,  Complicated  by  an  Imagi- 
nary Marriage  of  the  Beloved  Object:  -  -  "Les  Bleus  de 
l'Amour"  (Coolus,  1911). 

D  (1)  -A  Free  Union  Impeded  by  the  Opposition 
of  Relatives:--"^  Divorce"  (Bourget,  1908);  "Les 
Lys"  (Wolf  and  Leroux,  1908). 

(2)  -  Family  Affection  Disturbed  by  the  Parents- 
in-Law:  -  "Le  Roman  d'Elise"  (Richard,  1885);  "Le 
Poussin"  (Guiraud,  1908). 

E  -  By  the  Incompatibility  of  Temper  of  the 
Lovers:  "Montmartre"  (Frondaie,  1911).  "Les  Angles 
du  Divorce"  (Biollay)  belongs  both  to  E  and  to  D  2. 

F  Love-  bui  enough  of  this!  What  are  we  doing, 
co-spectators  in  this  hall,  before  this  pretended  situation? 
Upon  the  stage  are  our  two  young  people,  locked  in  close 
embraces  or  conventionally  attitudinizing  in  purely  theat- 
rical poses.  Wha1  is  there  in  all  this  worth  remaining  for? 
Let  us  leave  it  .  .  .  What,  Madame,  you  straighten 
yourself  in  your  chair  and  crane  your  neck  in  excitement 
over  the  gesticulations  of  the  "jeune  premier?"  Bui  his 
sweetheart  there  beside  him  have  you  forgotten  that 
il  is  she  whom  he  desires,  or  are  the  two  of  them  playing 
so  badly,  is  their  dialogue  so  little  natural  that  you  forget 
the  Story  enacted  and  fondly  imagine  yourself  listening  to 

a  monologue  a  declaration  addressed  to  you  alone?    And 

Monsieur  there,  With  mouth  open,  eyes  starting  from  his 
head,    following    with    avidity    every    movement     of    the 

actress's  lithe  figure!  Quick,  nrj  good  man,  another  will 
be  before  you  1  Be  consistent,  a1  least!  Spring  upon  the 
stage,  break  the  insipid  dandy's  bones,  and  take  his  place! 


96  THIRTY-SIX  DRAMATIC  SITUATIONS 

Sorry  return  to  promiscuity,  in  our  overheated  halts 
like  lupanars,  which  the  clergy  is  not  altogether  unreason- 
able in  condemning!  Do  people  gather  here  simply  to 
study  amatory  manifestations?  In  that  case,  why  not 
freely  open  training  schools  for  courtesans?  Is  it  for  the 
benefit  of  the  sidewalk  traffic,  later  in  the  evening,  that 
the  public  is  here  being  prepared? 

0  fresh  and  stormy  winds  of  Dionysian  drama!  Aeschy- 
lus where  art  thou  who  wouldst  have  blushed  to  represent 
aught  of  amorous  passion  but  its  crimes  and  infamies? 
Do  we  not,  even  yet,  perceive  the  heights  to  which  rise 
those  chaste  pinnacles  of  modern  art,  "Macbeth"  and 
"Athalie?" 

But  why  disturb  ourselves?  Turning  our  eyes  from 
these  summits  to  the  scene  before  us,  we  do  not  feel 
depression;  indeed,  we  indulge  in  a  hearty  laugh.  These 
characters  here  before  us?  Why,  they  are  but  puppets 
of  comedy,  nothing  more.  And  the  effort  of  their  mis- 
guided authors  to  make  them  serious  and  tragic  despite 
their  nature  has  resulted  in  mere  caricature.  In  more 
intelligent  hands,  have  not  the  best  of  our  dramas  wherein 
love  is  important  (but  not  of  the  first  importance,  as  in 
this  XXVIII)  returned  logically  and  naturally  to  an  indul- 
gence of  smiles?  "he  Cid,"  which  is  the  classic  type  of 
this  sort,  is  a  tragi-comedy,  and  all  the  characters  sur- 
rounding Romeo  and  Juliet  are  frankly  comic. 

Nevertheless,  our  blind  dramaturgy,  with  continued 
obstinacy,  still  breathes  forth  its  solemnities  in  this  equivo- 
cal rhythm.  Whether  the  piece  treats  of  sociology,  of 
politics,  of  religion,  of  questions  of  art,  of  the  title  to  a 
succession,  of  the  exploitation  of  mines,  of  the  invention 
of  a  gun,  of  the  discovery  of  a  chemical  product,  of  it  mat- 
ters not  what --a  love  story  it  must  have;  there  is  no 
escape.  Savants,  revolutionists,  poets,  priests  or  generals 
present  themselves  to  us  only  to  fall  immediately  to  love- 
making  or  match-making.  It  becomes  a  mania.  And  we 
are  asked  to  take  these  tiresome  repetitions  seriously! 

This,  then,  is  the  actual  stage  of  today.  In  my  opinion, 
de  Chirac  alone  has  shown  himself  its  courageously  logical 


TWENTY-EIGHTH  SITUATION  97 

son  -  -  although  a  rejected  one,  -  -  society,  like  an  aged 
coquette,  reserving  always  some  secret  sins,  and  fearing 
nothing  so  much  as  nudity,  which  would  destroy  the  legend 
of  her  imaginary  wicked  charms,  veiled,  she  willingly  lets 
it  be  supposed,  under  her  hypocrisy. 

How  grotesque  an  aspect  will  our  ithyphallic  obsession 
present,  once  it  is  crystallized  in  history,  when  we  shall 
finally  have  returned  to  antique  common  sense! 


TWENTY-NINTH  SITUATION 
AN  ENEMY  LOVED 

(The  Beloved  Enemy;  the  Lover;  the  Hater) 

A  -  The  Loved  One  Hated  by  Kinsmen  of  the 
Lover.  The  preceding  Situation  might  very  well  be 
absorbed  into  this. 

(1)  -  The  Lover  Pursued  by  the  Brothers  of  His 
Beloved :  -  "The  Duchess  of  Main"  by  Webster;  "The 
Broken  Heart"  by  Ford. 

(2)  -The  Lover  Hated  by  the  Family  of  His 
Beloved:  --  "The  Story  of  Yayati"  by  Roudradeva  (with 
the  characteristic  color  of  these  Hindu  rivalries,  wherein 
jealousy  is  hardly  perceptible);  "The  Victory  of  Prady- 
oumna"  by  Samara  Dikchita;  Metastasio's  "Cato;"  "La 
Grande  Marniere"   (Ohnet,  1888). 

(3)  The  Lover  is  the  Son  of  a  Man  Hated  by  the 
Kinsmen  of  His  Beloved:  -  "La  Taverne  des  Trabans" 
and  "Les  Rantzau"  by  Erckmann-Chatrian.  In  comic 
vein:  "Dieu  ou  pas  Dieu,"  a  romance  by  Beaubourg. 

(4)  -  The  Beloved  is  an  Enemy  of  the  Party  of  the 
Woman  Who  Loves  Him:  "Madhouranirouddha"  by 
Vira,  the  contemporary  of  Corneille;  "Les  Scythes"  by 
Voltaire;  "Almanzor"  by  Heine;  "Lakme"'  by  Delibes; 
"Les  Carbonari"  (No.  1882);  "Madame  The>ese"  by 
Erckmann-Chatrian;  "Lydie"  (Miral,  1882);  "Les  Ama- 
zones"  (Mazel);  "Les  Oberle"  (Bazin,  1905);  "Les  Noces 
Corinthiennes"  (France);  "l'Exode"  (Fauchois,  1904). 

98 


TWENTY-NINTH  SITUATION  99 

B  ( 1 )  The  Lover  is  the  Slayer  of  the  Father  of 
His  Beloved :  -  -  "Le  Cid"  (and  the  opera  drawn  from  it) ; 
"Olympie"  by  Voltaire. 

(2)  -  The  Beloved  is  the  Slayer  of  the  Father  of  her 

Lover: --"Mademoiselle  de  Bressier"   (Delpit,  1887). 

(3)  -  The  Beloved  is  the  Slayer  of  the  Brother  of 
Her  Lover:    -  "La  Reine  Fiammette"  (Mendes,  1889). 

(4)  -  The  Beloved  is  the  Slayer  of  the  Husband  of 
the  Woman  Who  Loves  Him,  But  Who  Has  Pre- 
viously Sworn  to  Avenge  that  Husband:-  "Irene" 
by  Voltaire. 

(5)  -  The  Same  Case,  Except  that  a  Lover,  Instead 
of  a  Husband,  Has  Been  Slain:       "Fedora"  (Sardou, 

1882). 

(6)  The  Beloved  is  the  Slayer  of  a  Kinsman  of  the 
Woman  Who  Loves  Him:  "Romeo  and  Juliet,"  this 
situation  being  modified  by  that  of  "Abduction"  (elope- 
ment), then,  with  triple  effect  by  XXX VI,  "Loss  of  Loved 
Ones;"  the  firsl  time  mistakenly,  the  second  time  simply 
and  actually,  the  third  time  doubly  and  simultaneously 
to  both  the  families  of  the  principal  characters;  "l'Ancetre" 
I  Saint  -Saens  and  Lassus > :  "Fortune  and  Misfortune  of  a 
Name"  and  "His  Own  Gaoler"  by  Calderon. 

The  Beloved  is  the  Daughter  of  the  Slayer  of 
Iler    Lover's    Father:        "Le    Crime    de    .lean    Morel" 
imson,  L890  ;   "La   Marchande  de  Sourires"  (.Judith 
Gautier,  L888  . 

The  chief  emotional  elemenl  thus  remains  the  same  as 
in  the  Fifth  (Pursuit  i,  and  Love  here  serves  especially  to 
presenl  the  pursued  man  under  various  favorable  lights 

which    have   a   certain    unity.     She   whom    he    loves   here 

plays,  to  some  Bmall  extent,  the  role  of  the  Greek  chorus. 

Suppress  the  love  interest,  replace  it    with  any  other  tie, 

however  weak,  or  even  leave  nothing  in  its  place,  and  a 

play  of  the  type  of  Situation   Y,  with  all  its  terrors,  will 
still    remain.      Attempt,   oil    the   contrary,   to  curtail    the 

other  interest,  the  enmity      to  soften  the  vengeance 


100  THIRTY-SIX   DRAMATIC  SITUATIONS 

and  to  substitute  any  other  element  of  difference  or  leave 
their  place  unfilled,  and  what  will  remain  of  tragic  emo- 
tion?    Nothing. 

We  have,  then,  reason  to  conclude  that  love  --an  excel- 
lent motif  for  comedy,  better  still  for  farce  -  -  sweet  or 
poignant  as  it  may  be  in  stories  read  in  solitude,  of  which 
we  can  fancy  ourselves  hero  or  heroine,  love  is  not,  in  real- 
ity, tragic,  despite  the  virtuosity  which  has  sometimes 
succeeded  in  making  it  appear  so,  and  despite  the  preva- 
lent opinion  of  this  age  of  erotomania,  which  is  now 
approaching  its  end. 


THIRTIETH  SITUATION 
AMBITION 

(An  Ambitious  Person;  a  Thing  Coveted;  an 
Adversary) 

A  highly  intellectual  type  of  action  is  here  presented, 
for  which  there  is  no  antique  model,  and  from  which 
mediocrity  usually  keeps  a  respectful  distance. 

A  --  Ambition  Watched  and  Guarded  Against  by  a 
Kinsman  or  a  Patriot  Friend:  (1)  -     By  a  Brother: 

Timoleon"  by  Alfieri.     Historic   instance   (comic,  that 
is  to  say,  feigned),  Lucien  and  Napoleon  Bonaparte. 

2         By  a  Relative  or  Person  Under  Obligation: 

"Julius  Caesar"  by  Shakespeare,  "La  Mort  de  Caesar" 
by  Voltaire;  "Brutus  II"  by  Allien.  In  "La  Mort  de 
( laesar"  there  is  a  reappearance  of  I  he  Nineteenth  (Slaying 
of  a  Kinsman  Unrecognized),  so  strong  was  the  desire  to 
recall  the  works  of  antiquity! 

::  By     Partisans:        "\\  allenslein"     by     Schiller; 

"Cromwell"  by  Hugo;  "Marius  Vaincu"  (Mortier,  1!)11). 

B  Rebellious  Ambition  (akin  to  VIII,  A  I): 

"Sir  Thomas  Wyat  "  by  Webster;  "I'erkin  Warbeck"  by 
Ford;  "Catilina"  by  Voltaire;  Cade's  insurrection  in  the 

second  part   of  Shakespeare's  *' Henry   IV." 

('     1  Ambition     and    Covetousness     Heaping 

Crime  l  pon  Crime:  "Macbeth"  and  "Richard  III;" 
"Ezzelino  A.  Mussato);  pari  of  the  "Cinq  Doigts  de 
Birouk"  (Decourcelle,  1883);  "La-Bete  Feroce"  (Jules 
Mary  and  Emile  Rochard,  L908);  "La  Vie  Publique" 
(Fabre,  L901).     In  comedy:  "Ubu-roi"  (Jarry).     In  ftc- 

101 


102  THIRTY-SIX  DRAMATIC  SITUATIONS 

tion:  "La  Fortune  des  Rougon"  (with  criminality  atten- 
uated to  simple  want  of  dignity) ;  "Son  Excellence  Eugene" 
(sacrifice  of  morality);  the  story  of  Lucien  de  Rubempr£; 
a  case  of  greed:  "La  Terre." 

(2)  --  Parricidal  Ambition:  --  "Tullia"  by  Martelli. 

Ambition,  one  of  the  most  powerful  of  passions,  if  it 
be  not  indeed  the  passion  par  excellence  will  always  affect 
the  spectator  strongly,  for  he  feels  and  knows  that,  once 
awakened  in  a  man,  it  will  cease  only  with  his  death.  And 
how  many  are  the  objects  of  its  desire !  Tyrannical  power, 
high  rank,  honors,  fortune  (by  inheritance,  marriage,  rob- 
bery, etc.),  the  conservation  of  riches  (avarice),  glory 
(political,  scientific,  literary,  inventive,  artistic),  celeb- 
rity, distinction. 

We  have  seen  in  Class  A  the  ties  which  may  unite  the 
ambitious  one  and  his  adversary  and  the  Situations  which 
may  result  from  them  (XIX,  XXIII,  XXIV). 

Here  is  one  way  among  many  to  intensify  the  fury  of 
C:  mingle  w  th  it  the  sincerity  of  a  faith,  of  a  conviction; 
such  a  combination  is  found  in  the  case  of  the  Spaniards 
in  Peru  and  in  Flanders,  and  in  the  case  of  our  own  "gentle 
and  intellectual"  race  under-  the  League  and  under  the 
Terror;  in  the  case  of  Calvin,  and  of  the  Inquisition. 


THIRTY-FIRST  SITUATION 
CONFLICT  WITH  A  GOD 

(A  Mortal;  an  Immortal) 


Most  anciently  treated  of  all  Situations  is  this  struggle. 
Into  its  Babel  of  dramatic  construction  all  or  nearly  all  of 
the  others  may  easily  enter.  For  this  is  the  strife  supreme; 
it  is  also  the  supreme  folly  and  the  supreme  imprudence. 
It  offers  the  most  unprecedented  aims  of  ambitions,  auda- 
cious enterprises,  titanesque  conspiracies,  Ixionian  abduc- 
tions; the  most  fascinating  of  enigmas;  the  Ideal  here 
undergoes  a  rare  assault  of  passions;  prodigious  rivalries 
develop.  As  for  the  surrounding  witnesses,  does  not  their 
sympathy  often  go  to  him  whom  they  should  hate? 
learning  of  his  crime,  it  is  not  sometimes  their  duty  to 
punish  him  themselves,  to  sacrifice  him  to  their  faith,  or 
to  sacrifice  themselves  for  him?  Between  the  dearest  of 
kindred,  hatreds  will  break  forth.  Then  comes  the  storm 
of  disaster,  the  vanquished  one  hound  to  misfortune, 
crushed  before  those  whom  he  loves,  unless,  acme  of 
horror  he  has,  in  a  transport  of  blind  delirium,  dis- 
honored or  massacred   them   unknowingly.    Suppliants. 

seeking    the    lost     loved    one,    advance    sad    theories    and 

endeavor  t<»  disarm  rancor,      hut  the  divine  vengeance 

lias  been  unchained! 

108 


104  THIRTY-SIX  DRAMATIC  SITUATIONS 

This  remarkable  grouping  has  been  in  our  day  almost 
entirely  ignored.  Byronists  as  we  still  are,  "bon  gre"  mal 
gre\"  we  might  yet  dream  of  this  superb  onslaught  on  the 
heavens.  But  no!  -  -  we  treat  even  the  evangelical  sub- 
ject of  the  Passion,  while  we  pass  by,  like  owls  in  broad 
daylight,  this  genuinely  dramatic  situation,  and  content 
ourselves  with  sanctimoniously  intoning  the  idyllo-didac- 
tic  phrases  which  preceded  the  sacred  tragedy,  -  -  itself 
left  unseen. 

A  (1) -Struggle  Against  a  Deity: --"The  ^don- 
ians"  and  "The  Bassarides,"  "Pentheus"  and  "The  Wool- 
Carders"  by  Aeschylus;  "The  Bacchantes"  of  Euripides; 
the  "Christ  Suffering"  of  Saint  Gregory  Nazianzen.  Epic: 
the  sixth  Homeric  hymn  (to  Dionysos);  the  dream  of 
Jacob. 

(2)  -  -  Strife  with  the  Believers  in  a  God:  --  "The 
Exodus  of  the  Hebrews"  by  Ezekiel;  "L'Empereur  Julien" 
(Miracle  of  Notre-Dame,  XIV  Century);  "Athalie." 
Historic  instances:  various  persecutions.  Epic:  "Les  Mar- 
tyrs." 

B  (1)    -  Controversy  With  a  Deity: --"The  Book 

of  Job."  I  cannot  give,  it  is  true,  the  date  nor  the  place 
of  the  "premier"  of  "Job."  But  the  fact  of  actual  repre- 
sentation by  Messieurs  A,  B  and  C  and  Misses  X,  Y  and  Z 
is  no  more  an  indispensable  condition  to  the  existence  of 
true  drama  than  it  is  an  all-sufficient  one.  We  may  hold 
that  the  "premier"  was  given  in  that  great  Theatre  of 
which  Brahmanic  legend  tells;  a  Theatre  inaugurated  long 
before  that  of  man,  and  thanks  to  which  the  gods  may 
occupy  the  leisures  of  their  eternity. 

(2)  -    Punishment    for    Contempt    of    a    God:  — 

"Tchitra  Yadjgna"  by  Vedyantha  Vatchespati;  "Le 
Festin  de  Pierre"  (meaning  the  real  action,  which  from 
the  beginning  leads  toward  the  denouement). 

(3)  -Punishment    for    Pride    Before    a    God:- 

Aeschylus'  "Ajax  Locrian"  (according  to  one  hypothesis); 
Sophocles'  "Thamiras;"  Euripides'  "Bellerophon."  A 
Christian  example:  Simon  the  Magician. 


THIRTY-FIRST  SITUATION  105 

(4)  -  -  Presumptuous  Rivalry  with  a  God:  -  "The 
Nurses"  by  Aeschylus;  "Niobe"  by  Sophocles;  "La  Mere 
du  Pape"  (Miracle  of  Notre-Dame,  XIV  Century). 

(5)  -  Imprudent  Rivalry  with  a  Deity:  -  Sopho- 
cles' "Eumele;"  in  part  "Phaeton"  by  Euripides. 

May  it  not  be  possible  that  we  shall  one  day  see  treated 
from  the  point  of  view  of  this  Situation,  the  pathetic  death 
of  Guyot-Dessaigne,  Minister  of  Justice? 


THIRTY-SECOND  SITUATION 

MISTAKEN  JEALOUSY 

(The  Jealous  One;  The  Object  of  Whose  Possession  He 

Is  Jealous;  the  Supposed  Accomplice;  the  Cause 

or  the  Author  of  the  Mistake) 

The  last  element  is  either  not  personified  (A),  or  per- 
sonified in  a  traitor  (B),  who  is  sometimes  the  true  rival 
of  the  Jealous  One  (C). 

A  (1)  -  The  Mistake  Originates  in  the  Suspicious 
Mind  of  the  Jealous  One:  -  "The  Worst  is  not  Always 
Certain"  by  Calderon;  Shakespeare's  "Comedy  of  Errors;" 
"The  Bondman"  by  Massinger;  the  "Marianne"  of  Dolse 
and  of  Tristan  l'Hermite;  "Tancrede"  and  "Marianne" 
by  Voltaire;  "la  Princesse  de  Bagdad"  by  Dumas;  "Un 
Divorce"  (Moreau,  1884);  "Monna  Vanna"  (Maeterlinck, 
1902).  How  is  it  that  Moliere  has  not  written  a  comedy 
of  jealousy  upon  this  Situation  symmetrical  to  that  of 
"LAvare?" 

(2)  -  -  Mistaken  Jealousy  Aroused  by  a  Fatal 
Chance  -  -  Voltaire's  "Zaire"  and  the  opera  of  that  name 
by  de  la  Nux;  part  of  "Lucrece  Borgia."  In  comedy:  "La 
Divorcee"  (Fall  and  L6on,  1911). 

(3)  -  -  Mistaken  Jealousy  of  a  Love  Which  is  Purely 
Platonic:  -  "Love's  Sacrifice"  by  Ford  (in  which  the 
wife    is    unjustly    suspected).     "L'Esclave    du    Sevoin" 

Yalnay,  1881,  in  which  it  is  more  particularly  the  respect- 

10G 


THIRTY-SECOND  SITUATION  107 

ful  admirer  who  is  wrongly  suspected).  Of  a  Flirt:  — 
"Suzette"  (Brieux,  1908) ;  "Four  Times  Seven  are  Twenty- 
Eight"   (Coolus,  1909). 

(4)  —  Baseless  Jealousy  Aroused  by  Malicious 
Rumors:  --  "Le  Pere  Prodigue"  by  Dumas;  "le  Maitre 
de  Forges"  (Ohnet,  1883). 

B  (1)  —  Jealousy  Suggested  by  a  Traitor  Who  is 
Moved  by  Hatred:  Shakespeare's  "Othello"  and 
"Much  Ado  about  Nothing;"  "Semiramide  Riconosciuta" 
by  Metastasio  presents  the  fully  -developed  denouement 
of  it. 

(2)  -  -  The  Same  Case,  in  Which  the  Traitor  is 
Moved  by  Self-interest:  -  -  Shakespeare's  "Cymbeline;" 
"La  Fille  du  Roi  d'Espagne"  (Miracle  of  Notre-Dame, 
XIV  Century). 

(3)  The  Same  Case,  in  Which  the  Traitor  is 
Moved  by  Jealousy  and  Self-interest:  "Love  and 
Intrigue"  by  Schiller. 

C  1  Reciprocal  Jealousy  Suggested  to  Hus- 
band and  Wife  by  a  Rival:  -"The  Portrait"  by  Mas- 
singer. 

(2)  -  Jealousy  Suggested  to  the  Husband  by  a  Dis- 
missed Suitor:  Voltaire's  "Artemire;"  "Le  Chevalier 
.I.-un"  (Joncieres,  L885  . 

3       Jealousy    Suggested    to    the    Husband    by    a 
Woman   Who   is  in    l.ove  with    llim:        "Malheur  au\ 

Pauvres"  (  Bouvier,  L881 1. 

1         Jealousy  Suggested  to  the  Wife  by  a  Scorned 
Rival:      "The  Phtiotides"  of  Sophocles. 

5         Jealousy  Suggested  to  a  Happy  lover  by  the 
Deceived    Husband:        "Jalousie"    (Vacquerie,  L888). 

The  number  of  dramatic  elements  brought  into  play 
already  enables  us  to  foresee  many  combinations  for  this 
Situation,  whose  improbabilities  the  public  is  always  dis- 
posed to  accept,  however  greal  they  may  be.     Withoul 

abusing  this  indulgence,  we  may  remark,  even  at  fir  I 
glance,  thai  almost  all  t In •  dramas  above  cited  treal  of 


108  THIRTY-SIX  DRAMATIC  SITUATIONS 

jealousy  on  the  part  of  a  man,  whereas  experience  teaches 
us  that  woman  is  quite  as  ready  as  man  to  let  herself  be 
the  envious,  by  a  rival,  or  by  a  suitor  bent  upon  securing 
for  himself,  through  the  anger  aroused,  a  pleasure  other- 
wise out  of  his  reach.  Transference  to  the  feminine  of  the 
cases  already  considered  will  thus  furnish  a  series  of  new 
situations.  Besides  pride,  self-interest,  love,  spite  and 
rivalry,  many  other  motives  present  themselves  for  the 
traitor  or  traitress;  the  motives  mentioned  may  also  be 
painted  in  colors  yet  unused.  The  denouement  (usually 
a  murder,  in  some  cases  a  suicide,  in  others  a  divorce)  may 
be  varied,  subtilized  or  strengthened  by  secondary  and 
instrumental  characters.  The  same  may  be  said  for  the 
various  knots  of  the  intrigue,  for  those  false  proofs,  those 
diabolic  suggestions  from  which  the  jealousy  springs. 

Under  the  form  of  "jealous  spite"  this  situation  has 
been  used  by  Moliere  and  other  writers  of  comedy  for  the 
purpose  of  filling  in  -  -  through  the  agitations  it  causes 
the  principal  lovers  -  -  the  vacancies  of  the  picture  with 
minor  characters. 


THIRTY-THIRD  SITUATION 

ERRONEOUS  JUDGMENT 

(The   Mistaken   One;   the   Victim   of   the   Mistake;   the 
Cause  or  Author  of  the  Mistake;  the  Guilty  Person.) 

(Any  sort  of  mistaken  judgment  may  here  be  under- 
stood, even  though  committed  only  in  the  thought 
of  one  person  to  the  detriment  of  another.) 

A  (1)  False  Suspicion  Where  Faith  is  Neces- 
sary: "The  Serpent  Woman"  by  Gozzi;  "L'Etudiant 
Pauvre"  Milloecker,  1889).  One  of  the  facets  of 
"Henry  V"  is  connected  somewhat  remotely  with  this 
situation,  the  incomprehension  of  the  young  prince's 
peal  character  by  the  witnesses  of  his  disorders.  Dumas 
pen-  has  represented  Henri  de  Navarre  as  misunder- 
stood in  the  same  way  by  his  entourage. 

(2  False  Suspicion  in  which  the  je;d<»usy  is  not 
without  reason)  Of  a  Mistress:  Pari  of  "Diane"  by 
Augier;  "Marie  Stuart"  by  Allien. 

3  False    Suspicions    Aroused    by    a    Misunder- 

stood    \  1 1  i  t  licit-   Of   B    Loved    One:  "The    Kaven"   by 

Gozzi;  "Hypsipile"  by  Metastasio;  "Theodora"  (Sardou, 
i  ;   pari    of   "La    Reine    Fiammetta;"    "Le    Voleur" 
Bernstein,    L906  :   "Les  Grands"    (Weber  and    Basset, 
L909  :  "Coeur  Maternel"  (Franck,  L91 1  , 

1        Bj     indifTerence:      "Crainquebille"      Prance, 
L909  :  "le  Vierge"    Valletta  , 

109 


110  THIRTY-SIX  DRAMATIC  SITUATIONS 

B  1  -False  Suspicions  Drawn  Upon  Oneself  to 
Save  a  Friend:  "Aimer  Sans  Savoir  Qui"  by  Lope; 
"Mme.  Ambros"  (Widor,  1885). 

(2)  -  They  Fall  Upon  the  Innocent:  -  -  "Siroes"  by 
Metastasio;  "La  Grande  Iza"  (Bouvier,  1882);  "Le 
Fiacre  No.  13"  and  "Gavroche"  (Dornay,  1887  and 
1888);  "L'Affaire  des  Poisons"  (Sardou,  1907);  "Les 
Pierrots"  (Grillet,  1908).  Upon  the  Innocent  Hus- 
band of  the  Guilty  One:  -  -  "La  Criminelle"  (Delacour, 
1882). 

(3)  -  The  Same  Case  as  2,  but  in  Which  the  Inno- 
cent had  a  Guilty  Intention:  --  "Jean  C£venol" 
(Fraisse,  1883).  In  Which  the  Innocent  Believes 
Himself  Guilty:  -  "Le  Roi  de  l'Argent"  (Milliet,  1885); 
"Poupees  Electriques"  (Marinetti). 

(4)  -  -  A  Witness  to  the  Crime,  in  the  Interest  of 
a  Loved  One,  Lets  Accusation  Fall  Upon  the  Inno- 
cent:   -"Le  Secret  de  la  Terreuse"  (Busnach,  1889). 

C  (1)  -  -  The  Accusation  is  Allowed  to  Fall  Upon 
an  Enemy:       "La  Pieuvre"  (Morel,  1885). 

(2)  -  The  Error  is  Provoked  by  an  Enemy:  -  -  "The 
Palamedes"  of  Sophocles  and  of  Euripides;  "Le Ventre 
de  Paris"  (Zola,  1887);  "Le  Roi  Soleil"  (Bernese,  1911); 
"L'Homme  a  Deux  Tetes"  (Forest,  1910).  This  nuance 
alone,  it  will  be  observed,  attracted  the  Greek  trage- 
dians, who  were,  so  to  speak,  tormented  by  a  vague 
conception  of  the  Iago  of  a  later  age  and  who  tried, 
in  a  succession  of  distorted  types,  to  produce  it;  we 
seem,  in  these  works,  to  be  assisting  at  the  birth  of  the 
future  Devil;  of  the  evangelic  Judas  -~  and  at  that  of 
the  type  of  Jesus  in  Prometheus  and  Dionysos.  This 
nuance  C  2  seems  to  me  a  singularly  fine  one;  it  is,  for 
instance,  that  of  the  "anonymous  letter,"  and  it  will  be 
admitted  that  a  more  admirably  repugnant  gargoyle 
cannot  be  imagined  than  the  creature  who  crouches 
with  pen  in  claw  and  malignant  smile,  to  begin  such  a 
piece  of  work! 

The  Mistake  is  Directed  Against  the  Victim 
by   Her   Brother:    (here   is   included  also  the   Twelfth, 


THIRTY-THIRD  SITUATION  111 

"Hatred  of  Kinsmen") :-- "The  Brigands"  by  Schiller; 
"Don  Garzia"  by  Alfieri. 

D  (1)  -  -  False  Suspicion  Thrown  by  the  Real 
Culprit  Upon  One  of  His  Enemies: -- Corneille's 
"Clitandre,"  and  "Sapho"  (Gounod,  1884);  "Catharine 
la  Batarde"  (Bell,  1881). 

(2)  -Thrown  by  the  Real  Culprit  Upon  the 
Second  Victim  Against  Whom  He  Has  Plotted  from 
the  Beginning:  -  "Le  Crime  d'un  Autre"  (Arnold  and 
Renauld,  1908).  This  is  pure  Machiavellianism,  obtain- 
ing the  death  of  the  second  victim  through  an  unjust 
punishment  for  the  murder  of  the  first.  Add  to  this  the 
closest  relationship  between  the  two  victims  and  the 
deceived  judge,  and  we  have  all  these  emotions  assem- 
bled: discovery  of  the  death  of  a  relative;  supposed 
discovery  of  an  impious  hatred  between  two  relatives; 
belief  even  in  a  second  case  of  crime,  aggravated  this 
time  by  a  scheme  of  revolt;  finally  the  duty  of  con- 
demning a  loved  one  believed  in  be  guilty.  This  plot 
then,  is  a  masterly  one,  since  it  groups,  under  the  im- 
pulsion of  an  ambition  or  a  vengeance,  four  other  Sit- 
uations. As  for  the  "Machiavellianism"  which  has 
set  it  all  in  motion,  it  consists,  for  him  who  employs  it, 
precisely  in  the  method  which  is  habitual  to  writers,  a 
method  here  transferred  to  a  single  character;  lie  ab- 
stracts himself,  SO  to  speak,  from  the  drama,  and,  like 
the  author,  inspires  in  other  characters  the  necessan 
feelings,  unrolls  before  their  steps  the  indispensable 
circumstances,  in  order  thai  they  may  mechanically 
move  toward  the  denouement  be  desires.  Thus  is  de- 
veloped the  "Artaxerce"  of  Metastasio. 

Suppress  the  pari  of  the  villain,  and  suppose  for  s 
moment  thai  the  author  has  planned  the  denouemenl 
desired  by  this  traitor;  the  bringing  about  of  the  most 
cruel  results  from  a  "supposed  fratricide"  and  the  "duty 
of  condemning  a  son."  The  author  cannol  otherwise 
combine  his  means  to  produce  it.  The  type  of  the 
Villain  who  has  successively  appeared  in  many  guises) 
is  nothing  else  than  the  author  himself,  masked  in  black, 


112  THIRTY-SIX  DRAMATIC  SITUATIONS 

and  knotting  together  two  or  three '  dramatic  situations. 
He  belongs,  this  type,  to  the  family  of  the  poetic  Pro- 
logue, of  the  "Deus  ex  machina"  (although  more  admis- 
sible) of  the  Orator  of  the  parabases,  of  the  Molieresque 
Valet,  and  of  the  Theorist  (the  good  doctor,  clergyman, 
journalist,  "family  friend").  He  is  in  short  the  old 
Narrator  of  the  monodramas.  Nothing  could  be  more 
naif,  consequently,  than  this  creature,  whose  uncon- 
vincing artificiality  has  spoiled  many  a  scene. 

(3)  -  -  False  Suspicion  Thrown   Upon  a   Rival- 

"Diana"  (Paladilhe,  1885);  "L'Ogre"  (Marthold,  1890); 
"La  Boscotte"  (Mme.  Maldagne,  1908). 

(4)  -  Thrown  Upon  One  Innocent,  Because  He 
Has  Refused  to  be  an  Accomplice:-  "Valentinian" 
by  Beaumont  and  Fletcher;  "Aetius"  by  Metastasio. 

(5)  -  Thrown  by  a  Deserted  Mistress  Upon  a 
Lover  Who  Left  Her  Because  He  Would  Not  Deceive 
Her  Husband:  -- "Roger-la-Honte"  (Mary,  1888). 

(6)  -  -  Struggle  to  Rehabilitate  Oneself  and  to 
Avenge  a  Judicial  Error  Purposely  Caused:-    "La 

Degringolade"  (Desnard,  1881);  the  end  of  "Fiacre 
No.  13." 


THIRTY-FOURTH  SITUATION 

REMORSE 

(The  Culprit;  the  Victim  or  the  Sin;  the  Interrogator) 

A  1  Remorse  for  an  Unknown  Crime: 
"Manfred"  and  other  creations  of  Byron;  the  last  of 
the  great  English  dramatists,  he  was  likewise  the  last 
adversary  of  Cant,  which,  having  killed  art  in  Spain 
under  the  name  of  the  Inquisition,  in  England  the  first 
time  under  the  name  of  Puritanism  and  in  Germany 
under  the  name  of  Pietism,  today  presents  itself  in 
France,  in  the  guise  of       ...     Monsieur  Berenger. 

Remorse  for  a  Parricide:  "The  Eumenides" 
of  Aeschylus;  the  "Orestes*'  of  Euripides,  of  Voltaire 
and  of  Alfieri;  "Le  Goitre"  (Verhaeren). 

3         Remorse  for  an  Assassination:        "(rime  ami 
Punishment"       Dostoievsky,    L888);     "Le  CoeUT     Ivevela- 

teur"    after  Poe,  by  Aumann,   1889).     For  a  .Judicial 
Murder:      "L'Eclaboussure"    Geraldy,   L910). 

(A)        Remorse    for    the    Murder    of    Husband    or 
Wife:       'Therese  Raquin"  by  Zola;  "Pierrot,  Assassin 

de  sa  l-'emme"    pan]  Marguentte,  18B8  . 

B    l        Remorse  for  a   Fault   of  Love:      "Made- 
leine"  Zola,  L889  , 

2        Remorse  for  an  Adultery:      "Count  Witold" 
Rzewuski,  L889  ;  "Le  Scandale"    Bataille,  L909). 

With   P>     l     there  are  connected,  in  one  respect,  the 
plays  classed  in  A    l    of  Situation  XXVII. 

LIS 


114  THIRTY-SIX  DRAMATIC  SITUATIONS 

Need  I  call  attention  to  the  small  number,  but  the 
terrible  beauty,  of  the  above  works?  Is  it  necessary 
to  indicate  the  infinite  varieties  of  Remorse,  according 
to;  1st,  the  fault  committed  (for  this,  enumerate  all 
crimes  and  misdemeanors  included  in  the  legal  code, 
plus  those  which  do  not  fall  under  any  law;  the  fault, 
moreover,  may  at  the  writer's  pleasure  be  real  or  imag- 
inary, committed  without  intention,  or  intended  but 
not  committed  -  -  which  permits  a  "happy  ending"  - 
or  both  intended  and  committed;  premeditated  or  not, 
with  or  without  complicity,  outside  influences,  sub- 
tlety, or  what  not);  2nd,  the  nature,  more  or  less  im- 
pressionable and  nervous,  of  the  culprit;  3rd,  the  sur- 
roundings, the  circumstances,  the  morals  which  pre- 
pare the  way  for  the  appearance  of  Remorse  -  -  that  fig- 
ure plastic,  firm  and  religious  among  the  Greeks,  the 
beneficially  enervating  phantasmagoria  of  our  Middle 
Ages;  the  pious  dread  of  a  future  life  in  recent  centuries; 
the  disturbance  of  the  equilibrium  of  the  social  instincts 
and  consequently  of  the  mind  according  to  the  inferences 
of  Zola,  etc. 

With  Remorse  is  connected  the  Fixed  Idea;  through 
its  perpetual  action  it  recalls  Madness  or  Criminal  Pas- 
sion. Often  it  is  but  "remorse  for  a  desire,"  remorse 
the  more  keen  in  that  the  incessantly  reviving  desire 
nourishes  it,  mingles  with  it,  and,  growing  like  a  sort 
of  moral  cancer,  saps  the  soul's  vitality  to  the  point  of 
suicide,  which  is  itself  but  the  most  desperate  of  duels. 
"Rene,"  Werther,"  the  maniac  of  the  "Coeur  Re>61a- 
teur"  and  of  Berenice"  (I  refer  to  that  of  Edgar  Poe) 
and  especially  Ibsen's  "Rosmersholm,"  offer  significant 
portraits  of  it. 


THIRTY-FIFTH  SITUATION 

RECOVERY  OF  A  LOST  ONE 

(The  Seeker;  the  One  Found) 

This  is  the  Situation  of  "The  Hero  and  the  Nymph" 
by  Kalidasa;  the  second  part  of  his  "Sakuntala,"  and 
the  "Later  Life  of  Rama"  by  Bhavabuti;  the  second 
part  also  of  "A  Winter's  Tale"  and  "Pericles"  by  Shakes- 
peare; likewise  of  "Berthequine"  and  of  "Bertha  au 
Grand  Pied"  Miracles  of  Notre- Dame,  XIV  Century); 
of  almost  all  of  "La  Reine  Aux  Trois  Fils,"  another 
Miracle;  it  is  the  Situation  of  "Thyestes  in  Sicyon" 
by  Sophocles  and  of  "Alcmeon  in  Corinth"  by  Suri- 
pides.  It  is  the  denouement  of  "Pere  Chasselas"  (Athis, 
1886);  "Foulards  Rouges"  (Dornay,  1882);  "La  Gar- 
dienne"  (Henri  de  Regnier);  it  is  the  old  familiar  plot 
of  the  "stolen  child"  and  of  stories  of  foundlings;  of 
arbitrary  imprisonments,  from  the  Man  in  the  Iron 
Mask  upon  whom  Hugo  began  a  drama)  and  "Richard 
Coeur-dc-Lion"  down  to  recent  tales  of  sane  persons 
confined  as  lunatics.  It  is  the  point  from  which  bursts 
forth  so  frequently  thai  double  explosion  of  the  prin- 
cipal Bcene;    My  daughter  I       My  mother!" 

Classes  A  and  C  Of  Situation  XI  move  toward  the 
same  end. 

In  other  cases   il    is  the   part    of   the  child   to  discover 

his  father,  his  kinsman,  and  to  make  himself  known; 
thus  i'  is  in  the  "Enfances  Roland;"  in  "Lea  Bnfants 
du  Capitaine  Grant"  by  Jules  Verne  and  "lea  Aventures 
de  Gavroche"    Darlay  and  Marot,  L909  . 

115 


116  THIRTY-SIX  DRAMATIC  SITUATIONS 

To  the  invariably  happy  and  epithalamic  ending  to 
our  plays  built  upon  this  Situation,  and  to  the  fortuit- 
ous coincidences  with  which  it  has  been  too  generously 
interlarded,  I  attribute  the  public's  final  weariness  of 
it.  For  does  not  this  Situation  retain  more  naturalness 
than  the  Nineteenth,  and  how  fecund  has  been  that 
Nineteenth,  whose  charm  and  tempting  variety  is  all 
possessed  by  our  Thirty-Fifth! 


THIRTY-SIXTH  SITUATION 

LOSS  OF  LOVED  ONES 

(A  Kinsman  Slain;  a  Kinsman  Spectator;  an 
Executioner ) 

Here  all  is  mourning.  In  long  funeral  processions  we 
see  them  pass,  the  heroes  of  this  Situation;  they  move 
from  the  dark  home  to  the  dark  church,  and  from  there 
to  the  cemetery,  returning  only  to  weep  by  the  hearth 
until  they  leave  it  on  the  departure  of  another  from 
among  them. 

A  (1)  -  Witnessing  the  Slaying  of  Kinsmen, 
While  Powerless  to  Prevent  It:  The  "Niobe"  and 
"Troilus"  of  .Ks.-hylus;  "Polyxena"  and  "The  Captives" 
of  Sophocles;  a  part  of  his  "Laocoon;"  "The  Troades"  of 
Euripides  and  of  Seneca. 

(2)  Helping  to  Bring  Misfortune  Upon  Ones 
People  Through  Professional  Secrecy:  "Les  B9.il- 
lonnes"    Mine.  Terni,  lw.i  . 

I'.        Divining   the   Death  of   a   Loved   One:  The 

Intruder"  and  'The  Seven  Princesses"  by  Maeterlinck. 
the  one  modern  master  of  the  Thirty-Sixth,  and  how 
powerful  a  one! 

('  Learning  of  the  Death  of  a  Kinsman  or  Ally: 
Pari  of  the  'Tlhesus"  attributed  i<>  Euripides;  "Pen- 
thesilea,"  "Pyschostase"  and  "The  Death  of  Achilles" 
by  Eschylus;  "The  Ethiopians"  of  Sophocles.  Here 
added  the  difficull  role  of  the  messenger  of  misfor- 
tune li"  who  bends  beneath  the  imprecations  of 
Cleopatra,  in  Shakespeare.  From  comedy:  "Cen1 
1 .1  :  .     Emue  "  by  Torquel . 

117 


118  THIRTY-SIX  DRAMATIC  SITUATIONS 

D  -  Relapse  into  Primitive  Baseness,  through 
Despair  on  Learning  of  the  Death  of  a  Loved  One: 

-  "La  Fille  Sauvage"  (Curel,  1902). 

But  embody,  in  a  human  figure,  the  wrong,  the  mur- 
der, which  is  abstract  in  most  of  these  examples.  Still 
bound  by  his  helplessness,  how  the  unfortunate  who  is 
made  a  spectator  of  the  agony  will  struggle,  appeal, 
and  vainly  implore  the  heavens  -  the  Victim,  meantime, 
humbly  beseeching  him  who  thus  looks  on  in  despair, 
as  though  he  had  power  to  save.  The  haughty  sar- 
donic silhouette  of  the  Executioner  dominates  the  scene, 
intensifying  the  keenness  of  the  grief  by  his  cynical 
pleasure    in    it     .  Dante    has   conceived    of   no 

sharper  sorrow  in  the  circles  of  his  Inferno. 


CONCLUSION 


To  obtain  the  nuances  of  the  Thirty-Six  Situations, 
I  have  had  recourse  almost  constantly  to  the  same 
method  of  procedure;  for  example,  I  would  enumerate 
the  ties  of  friendship  or  kinship  possible  between  the 
characters;  I  would  determine  also  their  degree  of  con- 
sciousness, of  free-will  and  knowledge  of  the  real  end 
toward  which  they  were  moving.  And  we  have  seen 
that  when  it  is  desired  to  alter  the  normal  degree  of 
discernment  in  one  of  the  two  adversaries,  the  intro- 
duction of  a  second  character  is  necessary,  the  first 
becoming  the  blind  instrument  of  the  second,  who  is  at 
the  same  time  invested  with  a  Machiavellian 'subtlety, 
to  such  an  extent  does  his  part  in  the  action  become 
purely  intellectual.  Thus,  clear  perception  being  in  the 
one  case  excessively  diminished,  it  is,  in  the  other,  pro- 
portionately increased.  Another  elemenl  for  modifying 
all  the  situations  is  the  energy  of  the  acts  which  must 
result  from  them.  Murder,  for  instance,  may  be 
reduced  to  a  wound,  a  blow,  an  attempt,  an  outrage,  an 

intimidation,  a  threat,  a  too-hasty  word,  an  intention 
not  carried  out,  a  temptation,  a  thought,  a  wish,  an  in- 
justice, a  destruction  of  a  cherished  object ,  a  refusal, 

a   want    of    pity,   an   abandonment,   a   falsehood.      If   the 

author  so  desires,  this  blow  (murder  or  its  diminutives) 
may  be  aimed,  not  at  the  object  of  hatred  in  person, 
bui  at  one  dear  to  him.  Finally,  the  murder  may  be 
multiple  and   aggravated   by  circumstances  which   th< 

law  has  foreseen.  A  third  method  of  varying  the  sit- 
uations: for  this  or  that  one  of  the  two  adversaries  whose 

itruggle  constitutes  our  drama,   there   may   he    tubsti- 

119 


120  THIRTY-SIX  DRAMATIC  SITUATIONS 

tuted  a  group  of  characters  animated  by  a  single  desire, 
each  member  of  the  group  reflecting  that  desire  under 
a  different  light.  There  is,  moreover  (as  I  have  already 
shown),  no  Situation  which  may  not  be  combined  with 
any  one  of  its  neighbors,  nay,  with  two,  three,  four, 
five,  six  of  them  and  more!  Now,  these  combinations 
may  be  of  many  sorts;  in"  the  first  case,  the  situations 
develop  successively  and  logically  one  from  another; 
in  the  second  case  they  dispose  themselves  in  a  dilemma, 
in  the  midst  of  which  hesitates  the  distracted  hero;  in 
the  third  case,  each  one  of  them  will  appertain  to  a 
particular  group  or  a  particular  role;  in  the  fourth,  fifth, 
sixth  cases,  etc.,  they  are  represented  according  to  two, 
or  according  to  all  three  of  the  cases  already  brought 
together  in  one  situation,  and  together  they  escape  from 
it,  but  the  majority  of  them  fall  therefrom  into  a  posi- 
tion not  less  critical,  which  may  even  offer  but  a  choice 
between  two  courses  equally  painful;  after  finding  a 
way  between  this  Scylla  and  Charybdis,  the  very  leap 
by  which  they  escape  precipitates  them  into  a  final 
Situation  resulting  from  the  preceding  ones,  and  which 
sweeps  them  all  away  together.      .  .     This,  be  it 

understood,  is  but  one  combination  among  a  thousand, 
for  I  cannot  here  elaborate  the  system  by  which  this 
study  of  the  Thirty-Six  Situations  may  be  continued, 
and  by  means  of  which  they  may  be  endlessly  multi- 
plied; that  is  a  subject  for  a  separate  work  upon  the 
"Laws  of  Literary  Invention." 

The  composition  or  arrangement  of  the  chosen  Sit- 
uations--and  at  the  same  time  of  the  episodes  and 
characters  introduced  -  -  may  be  deduced  in  a  manner 
somewhat  novel  and  interesting,  from  the  same  theory 
of  the  "Thirty-Six."  Considering,  in  effect,  that  "every  dra- 
matic situation  springs  from  a  conflict  between  two  prin- 
cipal directions  of  effort"  (whence  at  the  same  time  comes 
our  dread  of  the  victor  and  our  pity  for  the  vanquished), 
we  shall  have  to  choose,  at  the  rising  of  the  curtain, 
between  two  beginnings;  we  must  decide  which  of  the 
two  adversaries  pre-exists.  This  leads  us  infallibly  to 
make  of  the  second  the  cause  (innocent  or  responsible) 


CONCLUSION  121 

of  the  drama,  since  it  is  his  appearance  which  will  be  the 
signal  for  the  struggle.  The  first,  who  especially  enlists 
our  attention,  is  the  Protagonist,  already  present  in  the 
earliest  Thespian  tragedy,  altogether  lyric,  descriptive 
and  analytic ;  the  second  -  -  the  obstacle  arising  or  super- 
vening -  -  is  the  Antagonist,  that  principle  of  the  action 
which  we  owe  to  the  objective  and  Homeric  genius  of 
iEschylus.  One  of  two  strongly  opposing  colors  will 
thus  dominate  the  entire  work,  acording  as  we  shall 
choose,  near  the  beginning,  which  of  the  two  parties 
shall  possess  the  greater  power,  the  greater  chance  of 
victory. 

Aristotle  has  taught  us  to  distinguish  between 
"simple"  tragedy  (in  which  the  superiority  remains 
upon  the  same  side  until  the  end,  and  in  which,  conse- 
quently, there  is  no  sudden  change  of  fortune,  no  sur- 
prise) and  "complex"  tragedy  (the  tragedy  of  surprise, 
of  vicissitude),  wherein  this  superiority  passes  from 
one  camp  to  the  other.  Our  dramatists  have  since 
refined  upon  the  latter;  in  those  of  their  pieces  which  are 
least  complicated,  they  double  the  change  of  fortune, 
thus  leading  ingeniously  to  the  return  of  the  opposed 
powers,  at  the  moment  of  the  specta  or's  departure,  to 
the  exact  positions  which  they  occupied  when  he  entered 
the  hall;  in  their  plays  of  complicated  plot,  they  triple. 
quadruple,  quintuple  the  surprise,  so  long  as  their  imag- 
inations and  the  patience  of  the  public  will  permit.  We 
thus  see,  in  these  vicissitudes  of  struggle,  the  first  means 
of  varying  a  subject.  It  will  not  go  very  far,  however, 
since  we  cannot,  however  great   our  simplicity,  receive 

from  the  drama,  or  from  life,  more  than  one  thousand 
three  hundred  and  thirty-two  surprises.  One  thousand 
three  hundred  and  thirty-two?  Obviously;  what  is 
any  keen  surprise  if  not  the  passing  from  a  state  of 
calm    into  a    Dramatic   Situation,   or   from   one  Situation 

into  another,  or  again  into  a  state  of  calm?  Perform 
the  multiplication;  result,  one  thousand,  three  hundred 
and  thirty-two. 

Shall  we  now  inquire  whence  arise  these  vicissitudes, 
these  unexpected  displacement    ol  equilibrium?    Clearly 


122  THIRTY-SIX  DRAMATIC  SITUATIONS 

in  some  influence,  proceeding  from  a  material  object, 
a  circumstance,  or  a  third  personage.  Upon  this  Third 
Actor  -  whose  introduction  into  the  drama  was  the 
triumph  of  Sophocles  --  must  rest  what  is  called  the 
Plot.  He  is  the  unforeseen  element,  the  ideal  striven 
for  by  the  two  parties  and  the  surrounding  characters; 
he  is  fantastically  divided  and  multiplied,  by  two,  by 
three,  by  ten,  by  even  more,  to  the  point  of  encumbering 
the  scene;  but  he  is  always  himself,  always  easily  recog- 
nizable. Some  of  his  fragments  become  "Instruments," 
some,  "Disputed  Objects,"  some,  "Impelling  Forces;" 
they  range  themselves  sometimes  beside  the  Protagonist, 
sometimes  near  the  Antagonist,  or,  moving  here  and  there, 
they  provoke  that  downfall  the  incessant  avoidance  of 
which  is  called  -  -  for  events  as  for  mankind  -  -  Progress. 
In  this  way  they  clearly  show  their  origin  -  that  "Role- 
Lien"  (Jocaste  in  "Seven  Against  Thebes,"  Sabine  in 
"Horace")  under  which  the  Third  Actor  was  germinating 
in  iEschylean  tragedy,  without  yet  taking  a  positive 
part  in  the  action. 

It  will  be  seen  that  the  appearance  of  these  figures 
of  the  second  plan,  these  Choruses,  Confidants,  Crowds, 
Clowns,  even  Figurants  re-enforced  by  those  of  the 
original  groundwork,  precursors  whose  importance 
ranges  from  Tiresias  to  the  Messenger  of  "Oedipus  the 
King,"  from  prophet  to  porter,  modifies  most  power- 
fully the  effect  of  the  ensemble,  especially  if  we  reflect 
that  each  one  of  these,  considered  separately,  has  his 
own  especial  motives  for  action,  motives  soon  appar- 
ent in  regard  to  the  characters  who  surround  him,  in 
some  dramatic  situation  subordinate  to  the  dominant 
one,  but  none  the  less  real;  the  turns  and  changes  of 
the  general  action  will  affect  him  in  some  particular 
way,  and  the  consequences,  to  him,  of  each  vicissitude, 
of  each  effort,  of  each  act  and  denouement,  contribute 
to  the  spectator's  final  impression.  If  the  Third  Actor, 
for  instance,  be  a  Disputed  Object,  it  becomes  neces- 
sary to  take  into  account  his  first  and  his  last  posses- 
sor, the  diverse  relations  which  he  has  successively  had 
with  them,  and  his  own  preferences.  If  he  appear  as 
Inspirer   or    Instigator,    we   must   consider    (aside   from 


CONCLUSION  123 

his  degree  of  consciousness  or  unconsciousness,  of  frank- 
ness or  dissimulation,  and  of  Will  proper)  the  persever- 
ance which  he  brings  to  his  undertaking;  if  he  be  uncon- 
scious, the  discovery  which  he  may  make  of  his  own 
unconsciousness;  if  he  be  a  deceiver,  the  discoveries 
which  others  may  make  of  his  dissimulation  ("others" 
here  meaning  perhaps  a  single  character,  perhaps  the 
spectator).  These  remarks  also  apply  to  the  "Instru- 
mental" role;  and  not  alone  these  remarks,  but  those 
also  which  concern  the  "Object,"  are  applicable  to  the 
Role-Lien. 

I  have  already  observed  that  this  last  role,  and  the 
triple  hypostasis  of  the  Third  Actor,  may  be  repro- 
duced in  numerous  exemplars  within  one  play.  On  the 
other  hand,  two,  three,  or  all  four  of  them  may  be  fused 
in  a  single  figure,  (Lien- Instrumental,  Object-Instigator, 
Instrument-Lien-Object,  etc.),  combinations  which  pre- 
sent themselves,  like  the  combinations  of  the  Situations, 
already  considered,  in  varied  array.  Sometimes  the 
hero  who  unites  in  himself  these  divers  roles  plays  them 
simultaneously  --  perhaps  all  of  them  toward  an  indi- 
vidual or  group,  perhaps  one  or  several  of  them  toward 
an  individual  or  group,  and  another  role  wherein  these 
roles  mingle,  toward  some  other  individual  or  group; 
sometimes  these  various  roles  will  be  successively  played 
toward  the  same  individual  or  group,  or  toward  several; 
sometimes,  finally,  the  hero  plays  these  roles  now  simul- 
taneously, and  again  successively. 

Bui  it  is  not  possible  to  detail  in  these  pages,  even 
if  I  so  desired,  the  second  pari  of  the  An  of  Combina- 
tion; thai  which  we  in  Prance  call  by  the  Bomewhal 
feeble  term  as  Goethe  remarked)  "composition."  All 
that  I  have  here  undertaken  to  show  is,  first,  thai  :i 
single  study  must  create,  al  the  same  time,  the  epi- 
sodes or  actions  of  the  characters,  and  the  charactei 
themselves:  for  upon  the  stage,  what  the  latter  are 
may  be  known  only  by  what  tney  do;  next,  how  inven- 
tion and  composition,  those  two  modes  of  the  Ait  ot 
Combination      not     Imagination,    empty    word!     will, 


124  THIRTY-SIX  DRAMATIC  SITUATIONS 

in  our  works  to  come,  spring  easily  and  naturally  from 
the  theory  of  the  Thirty-Six  Situations. 

Thus,  from  the  first  edition  of  this  little  book,  I  might 
offer  (speaking  not  ironically  but  seriously)  to  dramatic 
authors  and  theatrical  managers,  ten  thousand  scen- 
arios, totally  different  from  those  used  repeatedly  upon 
our  stage  in  the  last  fifty  years  ****** 
"The  scenarios  will  be,  needless  to  say,  of  a  realistic 
and  effective  character.  I  will  contract  to  deliver  a 
thousand  in  eight  days.  For  the  production  of  a  single 
gross,  but  twenty-four  hours  are  required.  Prices 
quoted  on  single  dozens.  Write  or  call,  No.  19,  Passage 
de  l'Elysee  des  Beaux-Arts.  The  Situations  will  be 
detailed  act  by  act,   and,   if  desired,   scene  by  scene" 

But  I  hear  myself  accused,  with  much  violence,  of  an 
intent  to  "kill  imagination."  "Enemy  of  fancy!"  "De- 
stroyer of  wonders!"  "Assassin  of  prodigy!"  *  *  * 
These  and  similar  titles  cause  me  not  a  blush. 

A  singular  history,  in  truth,  is  that  of  the  "Imagi- 
nation." Certainly  no  one  in  classic  times  thought  of 
priding  himself  upon  it.  Far  from  it!  Every  novelty 
on  its  first  appearance,  hastened  to  support  itself  by 
appeal  to  some  antique  authority.  From  1830  dates 
the  accession  to  the  literary  throne  of  this  charlatan- 
esque  "faculty,"  analysis  of  which  is,  it  would  seem, 
eternally  interdicted.  The  results  of  this  new  regime 
were  not  slow  in  appearing,  and  they  may  be  seen,  in 
their  final  decay,  among  the  last  successors  of  ultra- 
romantic  Romanticism.  Mysterious  crime,  judicial  error, 
followed  by  the  inevitable  love  affair  between  the  chil- 
dren of  slayer  and  victim;  a  pure  and  delicate  work- 
ing-girl in  her  tiny  room,  a  handsome  young  engineer 
who  passes  by;  a  kind-hearted  criminal,  two  police 
spies,  the  episode  of  the  stolen  child;  and  in  conclu- 
sion, for  the  satisfaction  of  sentimental  souls,  a  double 
love-match  at  the  very  least,  and  a  suicide  imposed 
upon  the  villain  -  this,  one  year  with  another,  is  the 
product  of  the  Imagination.     For  the  rest,  in  the  whole 


CONCLUSION  125 

field  of  dramatic  romanticism  (which  corresponds  so 
well  to  the  Carrache  school  of  painting)  Hugo  alone  has 
created,  thanks  to  what?  -  -  to  a  technical  process 
patiently  applied  to  the  smallest  details,  -  -  the  antithesis 
of  Being  and  of  Seeming. 

One  vigorous  blow  was,  for  the  moment,  given  to 
this  legend  of  the  Imagination  by  Positivism,  which 
asserted  that  this  so-called  creative  faculty  was  merely 
the  kaleidoscope  of  our  memories,  stirred  by  chance. 
But  it  did  not  sufficiently  insist  upon  the  inevitably 
banal  and  monotonous  results  of  these  chance  stirrings, 
some  of  our  memories  -  -  precisely  those  least  interest- 
ing and  least  personal  --  repeat ing  themselves  a  thou- 
sand times  in  our  minds,  returning  mercilessly  in  all 
manner  of  methodless  combinations.  These  souvenirs 
of  innumerable  readings  of  the  products  of  imitation 
in  our  neo-classic  and  Romantic  past,  envelope  and 
overwhelm  us  unless  we  turn  to  that  observation  of 
nature  which  was  pointed  out  by  the  Naturalists'  initia- 
tive as  an  element  of  renovation.  Even  the  Naturalists 
themselves  have  too  often  viewed  reality  athwart  their 
bookish  recollections;  they  have  estimated  too  highly 
the  power  of  the  artistic  temperament,  however  vig- 
orous it  may  be,  in  assuming  that  it  could  interpose 
itself,  alone  and  stripped  of  all  convention,  by  a  simple 
effort  of  will,  between  Nature  and  the  literary  product 
to  be  engendered.  Thus  "La  Bfite  Humaine"  has 
repeated  the  "judicial  error"  in  thai  special  form  which 
is  as  common  in  books  as  il  is  rare  in  life;  thus  the  starting- 
point  of  "L'CEuvre"  is  merely  the  converse  of  the  "thesis" 

of    the    GonCOUllS    and     l);uie|et;    thus    reminiscences    of 

"Madame  Bovary"  appear  in  many  a  study  of  similar 
which  should,  nevertheless,  remain  quite  distinct; 
and    thus    has   appeared,    in   the   Becond   generation 
of  "nat  uralisti ."  ;i   new  school  of  imitators  and  tradi- 
tional! 

And  all  the  old  marionettes  have  reappeared,  inflated 

with    philosophic  and    poetic  amplifications,    but    too 

often     empty     of  symbolism,  as     of     naturalism     and 
humanism. 


L26  THIRTY-SIX   DRAMATIC  SITUATIONS 

As  to  the  methods  of  the  Art  of  Combining,  the  truth 
may  be  grasped  by  one  bold  look,  one  triumphant  glance 
at  all  these  phantoms  of  trite  thought,  as  they  stand 
in  their  respective  places  in  the  foregoing  categories. 
Any  writer  may  have  here  a  starting-point  for  observa- 
tion and  creation,  outside  the  world  of  paper  and  print, 
a  starting-point  personal  to  himself,  original  in  short,  — 
which  does  not  in  the  least  mean  improbable  or  uncon- 
vincing, since  many  stituations  which  have  today  an 
appearance  of  improbablity  have  merely  been  disfigured 
by  persons  who,  not  knowing  how  to  create  new  ones, 
have  complicated  the  old,  entangling  themselves  in 
their  own  threads. 

Especially  will  the  invention  of  an  unusual  story, 
the  discovery  of  a  "virgin  field,"  (to  use  the  naturalists' 
term)  be  made  so  easy  as  to  be  almost  valueless.  We 
are  not  unaware  of  the  importance,  in  the  perfecting  of 
Greek  art,  of  the  fact  that  it  was  circumscribed  and 
restricted  to  a  small  number  of  legends  (CEdipus, 
Agamemnon,  Phaedra,  etc.,),  which  each  poet  had  in 
his  turn  to  treat,  thus  being  unable  to  escape  compari- 
son, step  by  step,  with  each  of  his  predecessors,  so  that 
even  the  least  critical  of  spectators  could  see  what  part 
his  personality  and  taste  had  in  the  new  work.  The 
worst  which  may  be  said  of  this  tradition  is  that  it  ren- 
dered originality  more  difficult.  By  a  study  of  the 
Thirty-Six  Situations  and  their  results,  the  same  advan- 
tage may  be  obtained  without  its  accompanying  incon- 
venience. Thenceforth  Proportion  alone  will  assume 
significance. 

By  proportion  I  mean,  not  a  collection  of  measured 
formulae  which  evoke  familiar  memories,  but  the 
bringing  into  battle,  under  command  of  the  writer,  of 
the  infinite  army  of  possible  combinations,  ranged  accord- 
ing to  their  probabilities.  Thus,  to  make  manifest 
the  truth  or  the  impression  which,  until  now,  has  been 
perceptible  to  him  alone,  the  author  will  have  to  over- 
look in  a  rapid  review  the  field  before  him,  and  to  choose 
such  of  the  situations  and  such  of  the  details  as  are 
most   appropriate  to  his   purpose.     This   method  —  or, 


CONCLUSION  127 

if  you  will,  this  freedom  and  this  power  -  -  he  will  use, 
not  only  in  the  choice,  the  limitation  and  fertilization 
of  his  subject,  but  in  his  observation  and  meditation. 
And  he  will  no  more  run  the  risk  of  falsifying,  through 
pre-conceived  ideas,  the  vision  of  reality  than  does  the 
painter,  for  example,  in  his  application  of  laws  equally 
general,  and  likewise  controlled  by  constant  experi- 
mentation,—  the  divine  laws  of  perspective! 

Proportion,  finally  realizable  in  the  calm  bestowed  by 
complete  possession  of  the  art  of  combining,  and  recov- 
ering the  supreme  power  long  ago  usurped  by  "good 
taste"  and  by  "imagination,"  will  bring  about  the  recog- 
nition of  that  quality  more  or  less  forgotten  in  modern 
art,  -  "beauty."  By  this  I  mean,  not  the  skilful 
selection  of  material  from  nature,  but  the  skilful  and 
exact  representation  -with  no  groping,  no  uncertainly, 
no  retention  of  superfluities  -of  the  particular  bit  of 
nature  under  observation. 

But  it  is  more  than  this,  for  these  two  definitions, 
the  eclectic  and  the  naturalist,  concern  but  a  limited 
number  of  the  arts,  and  but  one  side  of  them;  thai 
small  number  to  which  imitation  is  open  (painting, 
literature  of  character,  and,  in  a  limited  way,  sculp- 
ture), and  that  side  of  them  which  is  purely  imitative. 
What  sijmificanee  have  these  two  definitions  (both  of 
which  real  upon  the  reproduction  of  reality,  the  one 
exalting  and  the  other  belittling  it)  if  they  be  eon- 
fronted  with  Music,  with  the  didactic  poetry  of  a  Hesiod, 
with  the  Vedic  incantations,  with  true  statuary,  simpli- 
fied and  significant ,  from  the  mighty  chisel-strokes  of 
Phidias  or  of  the  XIII   Century,  With  purely  ornamental 

or  decorative  art,      'he  "beauty"  of  ;i  demonstration 

in  geometry,  or  finally  with  Architecture,  now  reviv- 
ing in  silence  and  obscurity,  that  arl  which  comes  periodi- 
cally i"  reunite  and,  like  an  ark,  to  rescue  the  others, 

that   art    which  shall  once  more  return   to  lead   us  away 

from  the  prematurely  senile  follies  of  our  delettanti 
and  sectarians. 

Upon  ;i   like  heighl   stands  a  principle  greater  than 

Naturalism  with  its  experimental  method,  or  Ideal- 
ism which  gives  battle  to  it,        Logic. 


128  THIRTY-SIX  DRAMATIC  SITUATIONS 

It  is  by  methods  of  logic  that  Viollet-le-Duc  has 
enabled  us  to  estimate  truly  the  marvels  of  our  "grand 
siecle,"  the  XIII  Century,  substituting  (to  cite  only 
this)  for  the  simple  admiration  of  1830  before  each 
stone  saint  so  "picturesquely"  perched  upon  the  point 
of  an  ogive,  the  builders'  explanation:  that  a  stone  of 
the  exact  weight  and  dimensions  of  the  saint  was  there 
absolutely  necessary,  to  prevent  the  breaking  of  the 
ogive  under  a  double  lateral  pressure,  -  -  whence  the 
instinctive  satisfaction  it  gives  our  eyes.  It  is  a  great 
misfortune  that  the  understanding  of  that  magnificent 
age  in  which  a  Saint  Louis  presided  over  the  multiple 
communal  life,  an  age  whose  only  equal  in  the  world's 
history  is  that  in  which  Pericles  directed,  from  the 
Athenian  metropolis,  an  identical  movement,  -  -  that 
this  understanding,  which  would  be  so  useful  to  us, 
should  have  been  horribly  compromised  in  the  Roman- 
tic carnival.  Hugo's  "Notre-Dame  de  Paris,"  wherein 
the  public  believed  it  beheld  a  portrait  of  our 
"Moyen-age"  (a  most  absurd  appellation,  by  the  way), 
represents  it,  by  a  singular  choice,  as  already  long  dead, 

after  the  Hundred  Years'  War  which  bled  us  to  the 
point  where  we  fell,  passive  and  defenseless,  under  the 
domination  of  the  Florentine  national  art  called 
"renaissant,"  and  then  of  various  other  influences, 
ancient  and  foreign,  during  four  centuries.  And,  down 
to  the  very  moment  at  which  I  write,  the  literary  pro- 
ductions upon  the  subject  of  this  most  incomparable 
period  of  our  past  have  been  but  pitiable  affairs.  But 
yesterday,  a  Renan  was  writing  of  ogival  art  as  an 
effort  which  had  been  impotent  ("Souvenirs  d'Enfance 
et  de  Jeunesse")  or  which  at  most  had  fathered  works 
of  no  enduring  character  ("Priere  sur  l'Acrople");  the 
very  Catholic  Huysmans,  in  his  "En  Route,"  was  mak- 
ing the  most  astounding  salad  of  Roman  vaulting, 
Primitive  painting,  Gregorian  plain-chant,  -  -  a  salad 
whose  recipe  is  "the  Faith"  and  which  is  called,  natur- 
ally, the  "Moyen-age,"  that  age  which  embraces  ten 
centuries  of  humanity,  plus  one-third  of  humanity's 
authentic  history,  three  epochs  strongly  antagonistic 
to   each   other,  peoples  widely   diverse  and   opposed;   a 


CONCLUSION  129 

something  equivalent  to  a  marriage  between  Alcibiades 
and  Saint  Genevieve. 

The  "Moyen-age,"  or,  to  speak  more  accurately,  the 
XII,  XIII,  and  XIV  Centuries,  were  not  in  the  least 
fantastic  and  freakish;  this  is  the  character  merely  of 
an  occasional  generation,  such  as  that  of  Louis- 
Philippe.  Neither  were  they  mystic,  in  the  present 
sense  of  that  word.  The  architecture  of  those  cen- 
turies grew,  stone  by  stone,  plan  by  plan,  out  of  the 
most  practical  of  reasons.  In  their  sculpture  there 
was  nothing  "naive"  -the  naivete  is  ours,  when  we  so 
estimate  that  sculpture,  which  is  far  more  realistic  than 
our  own;  and  if,  persisting  in  the  contrary  opinion,  we 
cling  to  the  weird  forms  of  the  gargoyles,  it  may  be 
said  that,  born  of  a  symbolism  akin  to  those  of  Egypt 
and  Greece,  they  represent  analogies  equally  ingen- 
ious and  profound.  In  this  period  arose  Thomism, 
lately  called  back  into  a  position  of  honor  to  combat 
Positivism,  and  which  realized  so  happy  a  harmony 
between  Aristotelianism  and  Christian  faith,  between 
science  and  theology.  In  this  period,  too,  were  born 
the  natural  sciences,  and,  in  the  minds  of  its  poets, 
evolved  the  laws  by  which  our  poetry  lives  today,  tho.se 
rhythms  which  through  Ronsard  we  still  hear,  that 
Rhyme  which  we  gave  to  all  Europe,  and,  ;it  the 
same  lime,  thy  groined  vaultings,  ()  Utile  town  of  Saint  - 
Denis,  suzerain  oriflamme,  pilot-barque  of  France!  All 
these  were  born,  and  grew,  beneath  the  grave  gaze  of 

the  same  wisdom  which,  on  the  Ionian  shores,  was  called 
Athene. 

Toward  a  new  aspect  of  the  same  logic  OUT  own  age 
already  turns,  since,  having  drunk  of  that  antiquity  by 

whose  forces  We  ruleol  KiU'ope  a  second  time  in  the 
XVII     Century;    having    drunk    of    the    laiest     of    great 

foreign  influence-,  the  Germanic,  we  .ire  returning  to 
reality   and    to   'he    future.    Thus,    when    each    Greek 

city  had  absorbed  the  neighboring  local  cults    its  "foreign 

influences")  and  the  Oriental  cults  the  antiquity" 
of  that  day  ,  the  most  beautiful  of  mythologies  were 
formed.     It    i  .  al    least,  toward  an  art    purely  logical, 


L30  THIRTY-SIX  DRAMATIC  SITUATIONS 

purely  technical,  and  of  infinitely  varied  creations, 
that  all  our  literary  tendencies  seem  to  me  to  be  con- 
verging. In  that  direction  proceed  Flaubert  and  Zola, 
those  rugged  pinoeers,  Ibsen,  Strindberg,  and  all  writers 
deliberately  unmindful  of  their  libraries,  as  the  Hellenes 
were  of  barbarian  literature;  there  moves  Maeterlinck, 
having  reduced  action  to  the  development  of  a  single 
idea;  Verlaine,  delivering  from  conventional  rules  true 
rhythm,  which  makes  for  itself  its  own  rules;  Mallarm£, 
prince  of  ellipse,  clarifying  syntax  and  expelling  clouds 
of  our  little  parasite  words  and  tattered  formulae;  in 
that  direction  Moreas  calls  us,  but  without  freeing 
himself,  unfortunately,  from  the  Italianism  of  our  so- 
called  Renaissance;  all  these,  and  others  not  less  glorious, 
a  whole  new  generation  springing  up,  futurists,  "loups," 
cubists,  seem  to  me  to  be  seeking  the  same  goal,  the 
final  abolition  of  all  absolute  authority,  even  that  of 
Nature  and  of  our  sciences  her  interpreters;  and  the 
erection  upon  its  debris  of  simple  logic,  of  an  art  solely 
technical,  and  thus  capable  of  revealing  an  unknown 
system  of  harmony;  in  brief,  an  artists'  art. 

In  literature,  in  dramatic  literature  which  is  the 
special  subject  of  our  consideration,  the  investigation 
of  Proportion  of  which  I  have  above  spoken  will  show 
us  the  various  "general  methods"  of  presenting  any 
situation  whatever.  Each  one  of  these  "general 
methods,"  containing  a  sort  of  canon  applicable  to  all 
situations,  will  constitute  for  us  an  "order"  analogous 
to  the  orders  of  architecture,  and  which,  like  them, 
will  take  its  place  with  other  orders,  in  a  dramatic 
"system."  But  the  systems,  in  their  turn,  will  come 
together  under  certain  rubrics  yet  more  general,  com- 
parisons of  which  will  furnish  us  many  a  subject  for 
reflection.  In  that  which  we  might  call  Enchantment, 
there  meet,  oddly  enough,  systems  as  far  apart  in  origin 
as  Indian  drama;  certain  comedies  of  Shakespeare  ("A 
Midsummer  Night's  Dream;"  "The  Tempest"),  the 
"fiabesque"  genre  of  Gozzi,  and  "Faust;"  the  Mystery 
brings  together  the  works  of  Persia,  Thespis  and  the 
pre-Aeschyleans,    "Prometheus,"    the    book    of    "Job," 


CONCLUSION  131 

the  stage  of  the  tragic  Ezekiel,  of  Saint  Gregory  Nazian- 
zen,  of  Hroswitha,  the  Jeux  and  Miracles  of  our  XIII 
Century,  the  Autos;  here,  Greek  tragedy  and  the  psy- 
chologists' imitations  of  it;  there,  English,  German  and 
French  drama  of  1830;  still  nearer,  the  type  of  piece 
which  from  the  background  of  China,  through  Lope  and 
Calderon,  Diderot  and  Geothe,  has  come  to  cover  our 
stage  today. 

It  will  be  remembered  that,  when  we  were  catalogu- 
ing dramatic  production  in  its  thirty-six  classes,  an 
assiduous  effort  to  establish,  for  every  exceptional  case 
found  in  one  of  them,  symmetrical  cases  in  the  other 
thirty-five  caused  unforseen  subjects  to  spring  up  under 
our  very  feet.  Likewise,  when  we  shall  have  analyzed 
these  orders,  systems  and  groups  of  systems,  when 
we  shall  have  measured  with  precision  their  resem- 
blances and  their  differences,  and  classified  them,  or, 
one  by  one,  according  to  the  questions  considered,  shall 
have  brought  them  together  or  separated  them,  -  we 
shall  necessarily  remark  that  numerous  combinations 
have  been  forgotten.  Among  these  the  New  Art  will 
choose. 

Would  that  I  might  be  able  to  place  the  first,  the 
obscurest  foundation-stone  of  its  gigantic  citadel! 
There,  drawing  about  her  the  souls  of  the  poets,  the 
Muse  shall  rise  before  this  audience  re-assembled  from 
ancient  temples,  before  these  peoples  who  gathered  of 
yore  around  Herodotus  and  Pindar;  she  will  speak  the 
new  language  'he  Dramatic  ;i  language  too  lofty 
for  the  comprehension  of  the  single  soul,  however  great 
it  be,  a  language  not  of  words  but  of  thrills,  such  as 
that  spoken  to  armies,      a  language  in  truth  addressed 

to    thee,    0    BaCChU    .    dispenser    of    glory,    soul    of    crowds, 

delirium  of  races,  ab  tract,  but  One  and  Eternal!  Not 
in  one  of  our  parlor-like  pasteboard  reductions  of  the 
Roman  demi-circua  will  this  come  to  pass,  but  upon  b 
sort  of  mountain,  Hooded  with  light  and  air,  raised, 
thanks  to  our  conquest  of  iron  added  t<>  the  construe- 
tive  experience  of  tne  Middle  Ages;  offered  to  the  nation 
by  those  who  have   -till  held  to  the  vanity  of  riches, 


132  THIRTY-SIX  DRAMATIC  SITUATIONS 

-  a  greater  thing  than  the  theatre  of  Dionysos  where 
gathered  thirty  thousand  people,  greater  than  that  of 
Ephesus  wherein  sat,  joyous,  a  hundred  and  fifty  thou- 
sand spectators,  an  immense  orifice-like  crater  in  which 
the  earth  seems  to  encompass  the  very  heavens. 


ALPHABETICAL  INDEX 

Of  the  Plays,  Novels,  Etc.,  Classified  in  the  Situations 

of  this  Work 


Abbe  Constantin  (The),  by  L.  Halevy  WYIII 
Abduction  of  Helen  (The),  by  Lope  de  Vega    X 

Abduction  of  Helen  (The),  by  Sophocles  X 

Abhirama  mani,  by  Soundara  Misra  X 

Abraham,  by  the  Abbess  Hroswitha  XX 

Absente  (L'),  by  Yillemer  XXVII 

Abufar,  by  Ducis  XVIII 

Achilles  in  Scyros,  by  Metastasio  XX 

Adelaide  Duguesclin,  by  Voltaire  XIV 

Adelghis,  by  Manzoni  \ 

Adrien,  by  Metastasio  XXIV 

Aedonians   The    by  Aeschylus  \XX1 

Aegeus,  by  Guripidi  X  1  \ 

Aetius,  by  Metai  tasio  XXXIII 

Affaire  Clernenceau    1/  ,  by  Duma-  lils  XXV 
Allaire  de  La  rue  de  Lourcine    L1  .  by  LabicheXVl 

Affaire  dei  Poit  oi      l.'  ,  by  Sardou  XX  XI II 

Affaires  sonl  le  Affaires    Les  .  by  Mirbeau  XXVII 

Agamemnon,  by  Aeschj  \  V 

Agathocle,  by  Voltaire  \I\' 

A  nave,  by  Si  XXXI 

Age  Critique    L    .  bj  I  XXV 

ili  .  by  '  lorneille  X  X IV 

by   \ilieri  Mil 

Agnimitra  and  Malavika,  by  Kale!  \\l\ 

Aiglon    I.'  .  by  Rostand  \  1 1 

Aiu  •  oir  qui,  by  Lope  de  \  •  XIV 

and  XXXIII 

Ajaa  iphocle  X  \  I 

Ajax  Locrian,  bj  XXXI 

1  :  ; 


A 

2 

B 

B 

C 

2 

D 

B 

1 

B 

1 

i; 

3 

A 

2 

C 

C 

A 

1 

B 

•J 

1) 

4 

I) 

1 

A 

a 

H 

•< 

A 

a 

A 

i 

A 

•> 

A 

I 

C 

a 

\ 

5 

134 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Ajax  Locrian,  by  Sophocles 

Alcalde  of  Zalamea  (The),  by  Calderon 

Alceste,  by  Sophocles 

by  Euripides 
"        by  Buchanan 

by  Hardy 
"       by  Quinault 

by  Racine  (projected) 

by  Lagrange-Chancel 

by  Boissy 

by  Sainte-Foix 

by  Coypel 

by  Dorat 

by  Cluck 

by  H.  Lucas 

by  de  Vauzelles 
Alcmene,  by  Aeschylus 
Alcmeon,  by  Sophocles 
Alcmeon,  by  Euripides 
Aletes  and  Erigone,  by  Sophocles 
Alexander,  by  Sophocles 
Alexander,  by  Euripides 
Alexander,  by  Metastasio 
Alexander,  by  Racine 
Almanzor,  by  Heine 
Alope,  by  Euripides 
Alzire,  by  Voltaire 
Amazones  (Les),  by  Mazel 
Amelie,  by  Voltaire 
Amhra,  by  Grangeneuve 
Ami  Fritz  (L'j  by  Erckmann-Chatrian 
Amour,  by  Hennique 
Amphitryon,  by  Sophocles 
Anarghara-ghava  (Hindu,  anonymous) 
Ancetre  (I/),  by  Saint-Saens 
Andre  del  Sarte,  by  Musset 
Ancien  (L1)  by  Richepin 
Andromache,  by  Euripides 
Andromaque,  by  Racine 
Andromeda,  by  Euripides 
Andromeda,  by  Sophocles 
Andromede,  by  P.  Corneille 
Ane  de  Buridan  (L'j,  by  de  Flers  and 

de  Caillavet 
Angelo,  by  Hugo 

Angles  du  Divorce  (Lesj,  by  Biollay 
Antigone,  by  Metastasio 
by  Sophocles 
by  Euripides 
by  Alamanni 
by  Alfieri 


V 

B 

III 

A     2 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

\X1 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XXI 

A     1 

XVIII 

D     2 

XXV 

B     4 

XXV 

B     4 

III 

A      1 

XIX 

C      1 

XIX 

1 

V 

C 

XXIX 

A     4 

I 

B     2 

XXIV 

A     3 

III 

A     6 

XXIX 

A     4 

XIV 

A     2 

III 

A      6 

XXVIII 

A     2 

XV 

A     1 

XIX 

F     3 

X 

C     2 

XXIX 

B     6 

XXV 

C     4 

XXI 

A     2 

XXI 

D     2 

XXV 

B     1 

II 

A 

II 

A 

II 

A 

XXIV 

B     6 

XXV 

C     1 

XXVIII 

E 

XIV 

B     1 

XX 

A     3 

XX 

A     3 

XX 

A     3 

XX 

A     3 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


135 


Antiope,  by  Euripides 

Antoinette  Sabrier,  by  Coolus 

Antony  and  Cleopatra,  by  Shakespeare 

Aphrodite,  by  Louys 

Apotre  (L'i  by  Loyson 

Appius  and  Virginia,  by  Webster 

Apprentie  (L')  by  Geffroy 

Apres  moi,  by  Bernstein 

Archelaus,  by  Euripides 

Argent  (L'),  by  Zola 

Argives  (Thei,  by  Aeschylus 

Ariane,  by  T.  Corneille 

Arlesienne  iL'i,  by  Daudet  and  Bizet 

Armee  dans  la  Ville  (L*),  by  Jules  Romains 

Arsene  Lupin,  by  Leblanc 

Artaxerxes,  by  Metastasio 

Artemire,  by  Voltaire 

Article  301,  by  Duval 

Ascanio,  by  Saint-Saens 

As  de  trefle  (L'),  by  Decourcelle 

Assommoir  (L'),  by  Zola 

Atalanta,  by  Aeschylus 

Athalie,  by  Racine 

Athamas,  by  Aeschylus 

Atree  et  Thyeste,  by  Crebillon 

Attentat  (L')t  by  Capua  and  Descavea 

Attila,  by  P.  Corneille 

Attila,  by  Werner 

Augeus,  by  Euripii 

•\utomne  iL'  .  by  Adam  and  Mourey 

Autre  Danger    L'  ,  by  Donnay 

Aventuree  de  Gavroche    La  .  by  Darlay 

and  Marol 
Avi-u     1/  ,  by  Sarah  l'.crnhardt 


II 
XXV 

XXII 

XXI 

XXVII 

XXIV 

XX 

XXV 

VI 

VI 

III 

VI 

XXII 
VIII 
V 
XXXIII 

XXXII 

XXIV 

XXIV 

XXVII 

XXII 

IV 

XXXI 

XVI 

XI II 

XX  l\ 

XX1\ 

111 

1 

VIII 

\l\ 

XXXV 
XXV 


B 

1 

C 

3 

A 

4 

A 

3 

D 

2 

A 

3 

C 

D 

1 

C 

1 

B 

A 

1 

D 

1 

A 

5 

B 

5 

A 

D 

2 

C 

2 

C 

C 

D 

3 

C 

2 

B 

A 

2 

A 

1 

A 

2 

A 

7 

A 

4 

A 

1 

B 

■1 

B 

2 

B      i 


C      i 


B 


Bacchante     The  .  by  Euripidi 
Baillonne"     Le    ,  by  Mme.  Term 

tzet,  by  Racine 
Banque  de  I'Univera    La  .  by  Grenet- 

I  >ancourl 
Barlaam  el  Jo  aphat,  Miracle  oi  Notre-Dame 
Barricade    La  .  by  Bourgel 
Ba    aride     The     bj   \.(  cl  j 
Beethoven,  bj  Paw  hois 
Belle  aux  cheveua  d'or    La  .  by  Arnould 
Bellerophon,  by  Euripii 
Benvi  nuto,  by  Diaz 

ail    Le  .  bj  Bel      ■ 
Berenice,  by  Racine 


XXXI 
XXXVI 

\\  II 

\ 

XXIV 
XXXI 

\  II 

XVII 

\\X1 

l\ 
\\\ 
\\ 


\ 

1 

\ 

2 

B 

1 

\ 

•  > 

1) 

8 

A 

7 

\ 

1 

1) 

C 

8 

B 

3 

B 

r- 

i 

c 

1 

1! 

8 

136 


THIRTY-SIX   DRAMATIC  SITUATIONS 


Berenice,  by  Poe  XXXIV 
Berthe  an  grand  pied,  Miracle  of  Notre- 

Dame  XXXV 

Berthequine,  Miracle  of  Notre-Dame  XXXV 
Bete  feroce  (La),  by  Jules  Mary  and  RochardXXX 

Bete  humaine  (La),  by  Zola  XVI 

Bleus  de  l'amour  (Les),  by  Coolus  XXVIII 

Blind  (The),  by  Maeterlinck  VII 

Bluebeard,  by  Perrault  II 

Blue  Bird  (The),  by  Maeterlinck  IX 

Blue  Monster  (The),  by  Gozzi  XIX 

Bohemos,  by  Zamacois  XXXIV 

Boislaurier,  by  Richard  XIV 

and  II 

Bondman  (The),  by  Massinger  XXXII 

Bon  roi  Dagobert  (Le),  by  Rivoire  XVIII 

Boscotte  (La),  by  Mme.  Maldagne  XXXIII 

Bouchers  (Les),  by  Icres  III 

Bride  of  Messina  (The),  by  Schiller  XVIII 

Brigands  (The),  by  Schiller  XXXIII 

Britannicus,  by  Racine  XIV 

Broken  Heart  (The),  by  Ford  XXIX 

Brutus,  by  Voltaire  XXVII 

Brutus  II,  by  Alfieri  XXX 

Bucheronne  (La),  by  C.  Edmond  XXIV 

Burgraves  (Les),  by  Hugo  XIX 

By  Fire  and  Sword,  by  Sienkiewicz  XXVI 


P. 


Cain,  by  Byron 

Canace,  by  Speroni 

Capitaine  Burle  (Le),  by  Zola 

Captives  (The),  by  Sophocles 

Carbonari  (Les),  by  No 

Carians  (The),  by  Aeschylus 

Casquette  au  pere  Bugeaud  (La),  by  Marot 

Casse-museau,  by  Marot 

Casserole  (La),  by  Metenier 

Catherine  la  Batarde,  by  Bell 

Catilina,  by  Voltaire 


XIII 

XXVI 

XXII 

XXXVI 

XXIX 

X 

III 

XXVII 

III 

XXXIII 

cm 

and  XXX 
V 
III 
III 


Cato,  by  Metastasio 

Cellule  No.  7  (La),  by  Zaccone 

Cenci  (The),  by  Shelley 

XIII  B  3  and  XXVI 
Cent  lignes  emues,  by  Torquet  XXXVI 

Cesar  Birotteau,  by  Balzac 


C'est  la  loi,  by  Cliquet 


XX 

and  VI 
XXV 


c 

1 

A 

2 

C 

2 

D 

A 

I) 

3 

G 

2 

A 

9 

A 

1 

A 

A 

1 

D 

2 

A 

8 

A 

2 

C 

3 

A 

1 

A 

1 

D 

1 

A 

2 

A 

8 

F 

1 

C 

2 

A 

1 

C 

2 

c 

1 

A 

1 

A 

4 

A 

A 

8 

D 

5 

A 

7 

D 

1 

A 

1 

B 

C 

B 

3 

B 

5 

A 

3 

C 

A 

4 

B 

B 

8 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


13' 


Chamillac,  by  Feuillet 

Champairol  (Les),  by  Fraisse 

Chantecler,  by  Rostand 

Charbonniere  (La),  by  Cremieux 

Chevalerie  Rustique,  by  Yerga 

Chevalier  Jean  (Le),  by  de  Joncieres 

Chien  de  garde  (Le>,  by  Richepin 

Chinese  Hero  (The),  by  Metastasio 

Choephores  (The  .  by  Aeschylus 

Christ  Suffering,  by  St.  Gregory  Nazianzen 

Chryses,  by  Sohpocles 

Chrysippus,  by  Euripides 

Cid  (Lei,  by  P.  Corneille 

Cinna,  by  P.  Corneille 

Cinq  doigts  de  Birouk  (Les),  by 

De  Courcelle 
Circuit  (Le),  by  Feydeau  and  de  Croissel 
Citta  morta  (La),  by  d'Annunzio 
Clavijo,  by  Goethe 
Cleopatre,  by  Sardou 
Clitandre,  by  P.  Corneille 
Cloltre  (Le),  by  Verhaeren 
Coeur  a  coeur,  by  Coolus 
Coeur  a  ses  raisons  (Le),  l>y  de  Flers 

and  de  Cailluvet 
Coeur  de  Se-hor,  by  Michaud  d'Humiac 
Coeur  material,  by  Franck 
Coeur  revelateur  (Le),  by  Laumann,  after 

Poe 
Colomba,  by  Merimee 
Comedy  of  Errors,  by  Shakespeare 
Compagnon  de  voyage    Le  .  by  Andei 

Compere  le  Kenanl,  Ity  I'olti 

Comte  d' Essex,  by  T.  Corneille 
Comtesse  Sarah,  by  Ohnel 
Connais-toi,  by  Hervieu 
Conqudte  de  la  Toison  d'or    La),  by  P.  Cor- 
neille 
Conqudte  de  Plassans    La  .  by  Zola 
Conspiration  du  general  Malel    La  .  by  de 

I ...  sus 

Constant  Prince   The  ,  by  Calderon 

:e  de  Noel,  by  Linant 
Corbeau    Le  ,  by  Gozzi 
( !orbeaiu    Le    .  bj    Becque 
Cor  fleuri    !<<•  ,  by  Mikhael  and  Herold 
Coriolanus,  by  Shakespeare 
Cornette    La),  by  M.  and  Mile.  Ferrier 
(  ounl  of  Carmagnola   The  .  by  Manconl 

and 
I  ounl  Witold,  by  iski 


XXYI 

B 

5 

I 

B 

3 

VIII 

A 

2 

XXI 

D 

1 

xxrv 

A 

10 

XXXII 

C 

2 

XXI 

D 

1 

XXVIII 

A 

1 

IV 

A 

1 

XX 

A 

2 

I 

A 

1 

XXVI 

D 

1 

XXIX 

B 

1 

VIII 

A 

1 

XXX 

C 

1 

x  x  i  v 

C 

XXVI 

c 

2 

III 

A 

8 

XXII 

A 

4 

XXXIII 

D 

1 

x  x  x  i  v 

A 

■2 

xxv 

C 

ti 

XIV 

D 

xxvu 

D 

6 

XXXIII 

A 

3 

X  X  X  1  V 

A 

■A 

111 

A 

1 

XXXII 

\ 

1 

XI 

B 

^> 

\ 

\ 

XXIV 

B 

•> 

xxv 

C 

8 

xxu 

A 

2 

XXI\ 

B 

1 

XXII 

\ 

•  > 

VIII 

A 

1 

\\ 

\ 

•I 

Mil 

F 

XXXIII 

\ 

3 

VII 

B 

WIN 

1! 

3 

\  1 

C 

1 

\  \l 

1) 

1 

V 

C 

VI 

1 

1 

\\  \l\ 

1! 

13s 


THIRTY-SIX   DRAMATIC  SITUATIONS 


Countess  Fredegonde  (The),  by  Amigues 
Course  du  flambeau  (La),  by  Hervieu 
Courtisane  (La),  by  Arnyvelde 
Courtisane  de  Corinth  (La),  by  Carre  and 

Bilhaud 
Cousine  Bette  (La),  by  Balzac 
Crainquebille,  by  France 
Cresphontes,  by  Euripides 
Cretans  (The),  by  Euripides 
Creusa,  by  Sophocles 
Crime  de  Jean  Morel  (Le),  by  Samson 
Crime  de  Maisons-Alfort  (Le),  by  Coedes 
Crime  d'un  autre  (Le),  by  Arnold  and  Ren- 

auld 
Crime  and  Punishment,  by  Dostoievsky 
Criminelle  (La),  by  Delacour 
Crocodile  (Le),  by  Sardou 
Croisade  des  Enfantelets  francs  (La),  by 

Ernault 
Cromwell,  by  Hugo 
Cuirs  de  Boeuf  (Les),  by  Polti 
Cymbeline,  by  Shakespeare 
Cyrano  de  Bergerac,  by  Rostand 
Cyrus,  by  Metastasio 

and 


D 

Damaged  Goods,  by  Brieux 

Dame  a  la  faulx  (La),  by  Saint-Pol  Roux 

Dame  aux  Camelias  (La),  by  Dumas  fils 

Dame  au  domino  rose  (La),  by  Bouvier 

Damon,  by  Lessing 

Danae,  by  Euripides 

Danae,  by  Aeschylus 

Danaides  (The),  by  Aeschylus 

by  Combaud 

by  Phrynichus 

by  Salieri 

by  Spontini 
Danseur  inconnu  (Le),  by  Bernard 
Dante,  by  Godard 

Death  of  Achilles  (The),  by  Aeschylus 
Death  of  Cansa  (The;,  by  Crichna  Cavi 
Debacle  (La),  by  Zola 
Decadence,  by  Guinon 
Declassee  (Laj,  by  Delahaye 
Dedale  (Le),  by  Hervieu 
Deformed  Transformed  (The),  by  Byron 
Degringolade  (Laj,  by  Desnard 
1  lemetrius,  by  Metastasio 


XXV 

B 

7 

XXI 

E 

XXVII 

B 

6 

III 

C 

XXII 

C 

1 

XXXIII 

A 

3 

XIX 

B 

1 

XXVI 

E 

XIX 

B 

1 

XXIX 

B 

7 

III 

A 

1 

XXXIII 

D 

2 

XXXIV 

A 

3 

XXXIII 

B 

2 

XXVII 

B 

5 

VII 

B 

XXX 

A 

3 

XXVI 

A 

1 

XXXII 

B 

2 

XXI 

C 

2 

XIII 

C 

XIX 

B 

3 

XVII 

C 

2 

XXIV 

B 

9 

XXVII 

B 

G 

XVIII 

C 

XIV 

D 

I 

B 

2 

B 

2 

XXIII 

B 

3 

XXIII 

B 

3 

XXIII 

B 

3 

XXIII 

B 

3 

XXIII 

B 

3 

XXVIII 

A 

2 

XXIV 

A 

3 

XXXVI 

C 

XIII 

C 

VI 

A 

1 

XXV 

C 

1 

111 

B 

4 

XXIV 

A 

1 

IX 

D 

3 

XXXIII 

D 

6 

XXIV 

A 

5 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


139 


Demon  du  foyer  (Le),  by  George  Sand 

Demophon,  by  Metastasio 

Denise,  by  Dumas  fils 

Depute  Leveau  (Le),  by  Lemaitre 

Dernier  Amour,  by  Ohnet 

Desert  Isle  (The),  by  Metastasio 

Dette  (La),  by  Trarieux 

Duex  Jumeaux  (Lest,  by  Hugo 

Devant  l'ennemi,  by  Charton 

Devotion  to  the  Cross,  by  Calderon 

Dhourtta  narttaka 

Dhourtta  samagama 

Diana,  by  Paladilhe 

Diane,  by  Augier 

Diane  de  Lys,  by  Dumas  fils 

Dictys,  by  Euripides 

Dido,  by  Metastasio 

Dieu  ou  pas  Dieu,  by  Beaubourg 

Disciple  (Le),  by  Bourget 

Discovery  of  the  New  World,  by  Lope  de 

Vega 
Divorce  (Le),  by  Bourget 
Divorce  de  Sarah  Moon-    Le),  by  Rozier 

and  Paton 
Divorcee  (La),  by  Fall  and  Leon 
Docteur  Pascal,  by  Zola 
Don  Carlos,  by  Schiller 
Don  Garzia,  by  Alfieri 
Don  Juan,  by  Dumas  pere 
by  Goldoni 

"       by  Gral.l.e 

"      by  Moliere 

"      by  Sadwell 

"       by  Tellez 

by  Tirso  de  Molina 
"       "      by  Zamora 

"        by  Zorilla 

Don  l'i-'ire,  i>y  Voltaire 
Don  Quixote,  by  '  lerva 

1  )on  Sanclie,  by  '  onieille 

Drapeau    L  Moreau 

I >roi1  an  bonheur    Le  .  !•:■'  Lemonnier 
I  >u<  Malii   The  .  by  Websti 

l  >uel    !-<•  .  by  Lavedan 


!■: 


Earthen  Toy-carl    The  .  by  Sudraka 
Echeance    I.    .  by  Jullii 

Eclabou    ore    I .    .  bj  I  U  I  -lily 
Ecole  'I'     . eul     I     .  b)    \ i 


XIV 

A 

4 

XIX 

A 

1 

XXVII 

B 

3 

X  X  v 

B 

3 

XX  Y 

B 

6 

XII 

B 

XIV 

B 

1 

VII 

A 

XXIV 

A 

8 

V 

A 

XXII 

A 

1 

X  X  1  V 

A 

9 

XXXIII 

1) 

3 

XXI 

C 

1 

\\\ 

(' 

3 

II 

B 

2 

XX 

B 

3 

XXIX 

A 

3 

III 

A 

IX 

D 

1 

XXVIII 

D 

1 

XXI 

A 

•  > 

\\\ll 

\ 

2 

X  X  Y  1 

B 

2 

XXVI 

B 

•> 

XXXIII 

c 

M 

Y 

B 

\ 

B 

\ 

B 

Y 

B 

Y 

B 

Y 

B 

\ 

r. 

Y 

1! 

Y 

B 

XI Y 

\ 

•j 

11 

\ 

WIY 

\ 

<; 

X  X  1  \ 

\ 

S 

XXI 

c 

•j 

\\l\ 

\ 

! 

XIII 

\ 

i 

XXIV 

\ 

:■ 

\\\ 

l 

.s 

\\\l\ 

\ 

:i 

\\\  1 

i 

A 

140 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Edith,  by  Bois 
Egmont,  by  Goethe 
L812,  by  Nigond 
Klectra,  by  Sophocles 

by  Euripides 

by  Attilius 

by  Q.  Cicero 

by  Pradon 

l)y  Longepierre 

by  Crebillon 

by  Rochefort 
"        by  Chenier 

by  Guillard 
Eleusinians,  by  Aeschylus 
Emigrants  (Les),  by  Hirsch 
Emigre  (L'),  by  Bourget 
Emilia  Galotti,  by  Lessing 
Empereur  Julien  (L')  Miracle  of  Notre- 

Dame 
Enchantement  (L'),  by  Bataille 
En  detresse,  by  Fevre 
Enemy  of  the  People  (An),  by  Ibsen 
Enigma  (The),  by  Hervieu 
Enfant  du  Temple  (L'),  by  de  Polhes 
Enfants  du  Capitaine  Grant  (Les),  by  Verne 
Enfants  naturels  (Les),  by  Sue 
En  greve,  by  Hirsch 
Eole,  by  Euripides 
Epigones  (The),  by  Aeschylus 
Epigones  (The),  by  Sophocles 
Erechtheus,  by  Euripides 
p]riphyle,  by  Sophocles 
Kriphyle,  by  Voltaire 
Esclarmonde,  by  Massenet 
Esclave  du  devoir  (L'),  by  Valnay 
Esmeralda  (La),  by  Hugo 
Esther,  by  Racine 
Etau  (L'j,  by  A.  Sardou 
Ethiopians  (The),  by  Sophocles 
Et  ma  soeur?  by  Rabier 
Etrangere  (L'),  by  Dumas  fils 
Etudiant  pauvre  (L'),  by  Milloecker 
Etudiants  russes,  by  Gilkin 
Eumele,  by  Sophocles 

and 
Eumenides  (The),  by  Aeschylus 

and 
Europa,  by  Aeschylus 
Euryale,  by  Sophocles 
Eurysaces,  by  Sophocles 
Evangeliste  (L'),  by  Daudet 


V 

c 

V 

c 

XIV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

1 

IV 

A 

2 

XV 

A 

1 

XXVIII 

A 

1 

XXIV 

C 

XXXI 

A 

2 

XIV 

A 

4 

VII 

C 

2 

V 

C 

XXV 

D 

1 

XX 

A 

4 

XXXV 

XVIII 

A 

2 

XXIV 

A 

7 

XXVI 

C 

2 

III 

A 

1 

IV 

A 

1 

XXIII 

A 

1 

IV 

A 

1 

IV 

A 

1 

XVII 

B 

2 

XXXII 

A 

3 

XXIV 

A 

11 

I 

C 

1 

XVI 

D 

XXXVI 

C 

XX  VII I 

B 

III 

B 

7 

XXXIII 

A 

1 

XXVII 

D 

1 

XVII 

A 

1 

XXXI 

B 

5 

XXXIV 

A 

2 

I 

A 

1 

X 

A 

XIX 

B 

2 

I 

C 

2 

XX 

B 

1 

INDEX  OF  PLAYS,  NOVELS,  ETC.  141 


Exode  (L'),  by  Fauchois 

Exodus  of  the  Hebrews  (The),  by  Ezekiel 

Ezzelino,  by  A.  Mussato 


Famille  d'Armelles  (La),  by  Marras 

Faust,  by  Goethe 

Fantasio,  by  Musset 

Fatal  Dowry  (The),  by  Massinger 

Faute  de  l'abbe  Mouret  (La  .  by  Zola 

Feast  of  the  Achaians,  by  Sophocles 

Fedora,  by  Sardou 

Femme  de  Claude  (Las,  by  Dumas  tils 

Femme  de  demain  (La),  by  Lefebvre 

Femme  X  <La),  by  Bisson 

Fermiere  (La),  by  d'Artois 

Festin  de  Pierre  (Le),  by  T.  Corneille 

Fiacre  No.  13,  by  Dornay 

Fille  a  Guillotin    La  .  by  Fleischmann 

Fille  du  depute  (La),  by  Morel 

Fille  du  roi  d'Espagne  (La  ,  Miracle  of 

Notre-Dame 
Fille  Elisa  (Lai,  by  E.  de  Goncourt 
Faille  sauvage  (La),  by  de  Cure! 
Fils  de  Jahel  (Les),  by  Mme.  Armand 
Fils  de  Porthos  (Le),  by  Blavet 
Fils  naturel  (Le),  by  Dumas  tils 
Flore  de  Frileuse,  by  Bergerat 
Fontovejune,  by  Lope  de  Vega 
Fortune  des  Rougon  (La),  by  Zola 
Fortune  and  Misfortune  of  a  Maine,  by 

Calderon 
Fossilcs  |  Lea),  by  de  (urel 
Foulards  rouges    Lee  .  by  Dornay 
Francillon,  by  Dumas  fija 
Francois  lea  bus  bleus,  by  Measager 
Francoisc  de  Rimini,  l>y  A.  Thomi 
Prere  d'arme     Le  .  by  Garaud 
Freres  ennemia    Lea  .  by  Racine 
Frerea  Zemganno    Le    .  by  B.  <l«'  Goncourl 
Friquel  (Le  ,  by  Willy  and  Gyp 
Fugil  ive    La  .  by  Picard 
Furie  (La  ,  by  B< 

G 

Gardener's  Dog   The  .  by  I. ope  de  Vega 
Gardienne    La  .  by  'l<-  Regnier 
Gavroche,  by  1  >on 
Georgette,  by  Sardou 


XXIX 

A 

4 

XXXI 

A 

2 

XXX 

c 

1 

XXV 

D 

o 

VI 

D 

1 

II 

B 

2 

XXV 

c 

5 

XXII 

A 

1 

111 

B 

2 

XXIX 

B 

5 

X  X  V 

C 

7 

XXV 

B 

9 

XXVII 

A 

1 

XXIV 

C 

XXXI 

B 

■2 

XXXIII 

D 

6 

XXIII 

A 

:? 

XXVII 

A 

;; 

XX  XII 

B 

•J 

XVI 

A 

2 

XXXVI 

D 

XX 

B 

2 

XXIV 

A 

5 

XII 

B 

XXVII 

B 

2 

\  Ml 

B 

2 

XXX 

C 

1 

XXIX 

B 

6 

XIV 

B 

1 

X  X  X  V 

xx\ 

B 

•> 

XXI\ 

B 

(i 

\\\ 

c 

:i 

XXI 

D 

l 

XIII 

A 

•  > 

\\1 

B 

1 

X\l\ 

B 

6 

\\l 

1 

■2 

XXII 

\ 

:. 

XXIV 

B 

XV 

\  \  Mil 

B 

• 

x  xvii 

\ 

I 

142 


THIRTY-SIX   DRAMATIC  SITUATIONS 


Gerfaut,  by  C.  de  Bernard 

Germinal,  by  Zola 

Germinie  Lacerteux,  by  the  Goncourts 

Ghosts,  by  Ibsen 

Glatigny,  by  Mendes 

Glaucus  Pontius,  by  Aeschylus 

Glu  (La),  by  Richepin 

Gold  Bug  (The),  by  Poe 

Goetz  de  Berlichingen,  by  Goethe 

Grande  Iza  (La),  by  Bouvier 

Grande  Marniere  (La),  by  Ohnet 

Grand  soir  (Le),  by  Kampf 

Grands  (Les),  by  Veber  and  Basset 

Great  Expectations,  by  Dickens 

Griffe  (La),  by  Bernstein 

Guebres  (Les),  by  Voltaire 

Guests  (The),  by  Aeschylus 

Giubor,  Miracle  of  Notre-Dame 


H 


Hamlet,  by  Shakespeare 

Hanouman,  Hindu  drama 
Heaven  and  Earth,  by  Byron 
Hecuba,  by  Euripides 
Hedda  Gabler,  by  Ibsen 
Helen,  by  Euripides 
Helen  Reclaimed,  by  Sophocles 
Heliades  (The),  by  Aeschylus 
Henry  IV,  by  Shakespeare 
Henry  V,  by  Shakespeare 


and 


and 


Henry  VI,  by  Shakespeare 
Henry  VIII,  by  Shakespeare 
Henri  VIII,  by  Saint-Saens 
Heraclides  (The),  by  Aeschylus 
by  Euripides 
Heraclius,  by  Corneille 
Heracles  Mainomenos,  by  Euripides 
Hercules  Furens,  by  Seneca 
Hercules  on  (Eta,  by  Seneca 
Hermione,  Sophocles 
Hernani,  Hugo 

XIX  and 
Herodias,  by  Flaubert 
Hero  and  the  Nymph  (The),  by  Kalidasa 
Hippolyte,  by  Euripides 

by  Seneca 
His  Own  Gaoler,  by  Calderon 
Homme  a  deux  tetes  (L'j,  by  Forest 


XXV 

c 

6 

VIII 

B 

2 

XXII 

c 

1 

XVIII 

B 

3 

XXIV 

A 

9 

IX 

B 

2 

XXII 

A 

5 

XI 

B 

1 

V 

c 

XXXIII 

B 

2 

XXIX 

A 

2 

VIII 

A 

1 

XXXIII 

A 

3 

XXI 

A 

2 

XXII 

XIX 

A 

2 

VII 

B 

XXIII 

B 

4 

IV 

A 

1 

XIII 

C 

X 

C 

2 

XXIV 

A 

1 

III 

A 

2 

XVI 

A 

3 

X 

C 

1 

XII 

C 

XIII 

A 

1 

XXX 

B 

IX 

B 

1 

XXXIII 

A 

1 

VI 

B 

XXV 

B 

5 

XXV 

B 

5 

I 

A 

1 

I 

A 

1 

XVIII 

B 

2 

XVI 

A 

1 

XVI 

A 

1 

XXV 

B 

1 

X 

C 

2 

XXIV 

A 

3 

XX 

A 

1 

XXII 

B 

XXXV 

XXVI 

B 

1 

XXVI 

B 

1 

XXIX 

B 

2 

XXXIII 

C 

6 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


143 


Homme  de  proie  (L'j,  by  Lefevre  and 

Laporte 
Horace,  by  l'Aretin 

by  Corneille 
Huron  (Le),  by  Voltaire 
Hypermnestre,  by  Metastasio 
by  Riupeiroux 
by  Lemierre,  etc. 
Hypsipyle,  by  Aeschylus 
by  Euripides 
by  Metastasio 


Idiot  iL'i,  by  de  Lorde 
Idomenee,  by  Crebillon 

by  Lemiere 

by  Cienfuegos 
Illusions  perdues  (Les),  by  Balzac 
Image  (L),  by  Beauborg 
Impasse  (L'),  by  Fread  Amy 
Indigne,  by  Barbier 
Indiscret  (L'),  by  See 
Inflexible    L    .  by  Parodi 
Ino,  by  Euripides 
[nsociale  (L'),  by  Mme.  Aurel 
Intruder  (The),  by  Maeterlinck 
Iobates,  by  Sophocles 
Iolas,  by  Sophocles 
Ion,  by  Kuripides 
[phlgenia,  by  Aeschylus 

by  Sophocles 
Iphigenia  in  Aulis,  by  Kuripides 

Iphigenie  ;'i  Aulis,  by  Racine 

Iphigenia  in  Tauris,  by  Buripidt 

by  Ooel  he 

Iphigenie  en  Tuaride,  projected,  by  Racine 
Irene,  by  Voltaire 
■  l,  by  Bernstein 

Ixion,  by  Aeschylu 

"      by  Sophoc 
by  Buripide 

3 

.lack  the  Ripper,  by  Bertran  and  Clairian 
Jack  Tempfitl .  by  Elzear 
Jacobine     Le    ,  by  ]  iermanl 
Jacobite     Le    .  by  '  loppee 
Jacques  Bonhomme,  by  Maujan 
Jacques  I  'amour,  by  Zola 


X 

D 

2 

XXIII 

B 

5 

XXIII 

B 

5 

XXI 

D 

2 

XXIII 

B 

3 

XXIII 

B 

3 

XXIII 

B 

3 

XXIII 

B 

2 

XXIII 

B 

2 

XXIII 

B 

2 

III 

A 

4 

XX  III 

A 

2 

XXIII 

A 

2 

XXIII 

A 

2 

XXX 

C 

1 

X  X  1  V 

B 

8 

XV 

A 

1 

V 

B 

XVII 

A 

1 

XXVII 

D 

■2 

XVI 

A 

1 

XXXVI 

B 

XX  XVI 

B 

XXVI 

B 

1 

II 

B 

2 

XIX 

B 

1 

X  XIII 

\ 

1 

win 

A 

1 

X  X  1 1 1 

\ 

1 

XXIII 

A 

1 

XIX 

c 

2 

XIX 

c 

2 

XIX 

1 

2 

XXIX 

B 

I 

XIX 

i 

111 

\ 

:> 

Ml 

\ 

5 

III 

\ 

5 

III 

B 

7 

XXIV 

\ 

8 

xx\ 

c 

i 

XXV 

D 

j 

\  III 

I'. 

1 

xx\ 

c 

•> 

144 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Jalousie,  by  Yacquerie 

Jarnac,  by  Hennique  and  Gravier 

Joan  Cevenol,  by  Fraisse 
Jephthe,  by  Buchanan 

"         by  Boyer 
Jerusalem  Delivered,  by  Tasso 
Jeu  de  la  Feuillee  (Le),  by  Adam  de  la  Halle 
Jeu  de  Robin  et  de  Marion  (Le),  by  Adam 

de  la  Halle 
Jeu  de  Saint-Nicholas  (Le),  by  Jean  Bodel 
Job,  by  Moses  (?) 
Jocelyn,  by  Lamartine 

"        by  Godard 
Joie  de  vivre  (La),  by  Zola 

Joueurs  d'osselets  (Les),  by  Aeschylus 

Judgment  of  Arms  (The),  by  Aeschylus 
Julius  Caesar,  by  Shakespeare 
Jumeaux  (Les),  by  Hugo 


K 


Kermesse  rouge,  by  Eekhoud 
King  John,  by  Shakespeare 


Kreutzer  Sonata  (The),  by  Tolstoi 


XXXII 

c 

5 

XXIII 

B 

6 

XXXIII 

B 

3 

XXIII 

A 

2 

XXIII 

A 

2 

XIX 

G 

1 

alle  VII 

C 

1 

n 

X 

A 

jl      II 

A 

XXXI 

B 

1 

XXII 

A 

1 

XXII 

A 

1 

XXIV 

B 

7 

and  XXI 

A 

2 

III 

B 

2 

and  VII 

B 

XII 

C 

XXX 

A 

2 

XXXV 

III 

A 

8 

I 

A 

1 

and  VI 

C 

1 

XXV 

D 

1 

Labors  of  Jacob,  by  Lope  de  Vega 
Laconian  Women  (The),  by  Sophocles 
Lady  from  the  Sea  (The),  by  Ibsen 
Lakme,  by  Delibes 
Laocoon,  by  Sophocles 

Later  Life  of  Rama  (The),  by  Bhavabuti 

Lawn-tennis,  by  Mourey 

Legende  du  Coeur  (La),  by  Aicard 

Lelie,  by  Willy 

Lemnian  Women  (The),  by  Sophocles 

Lena,  by  Berton  and  Mme.  van  Velde 

Life  is  a  Dream,  by  Calderon 

Lohengrin,  by  Wagner 

Loi  de  l'homme  (La),  by  Hervieu 

Lois  de  Minos,  by  Voltaire 

Lorenzaccio,  by  Musset 

Louis  Perez  of  Galicia,  by  Calderon 

Louis  Leclercq,  by  Verlainc 


and 


XIII 

A 

1 

IX 

c 

1 

XXIV 

B 

8 

XXIX 

A 

4 

V 

c 

XXXVI 

A 

1 

XXXV 

XXVI 

D 

2 

XXV 

D 

1 

XXII 

C 

2 

XXIII 

B 

2 

XXVII 

B 

4 

XIII 

B 

2 

II 

A 

XXI 

C 

3 

XIX 

A 

2 

VIII 

A 

1 

V 

A 

XVII 

C 

2 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


145 


Love  and  Intrigue,  by  Schiller 

Love's  Sacrifice,  by  Ford 

Loves  of  Krishna    The),  by  Roupa 

Loves  of  the  Three  Oranges  (The),  by  Gozzi 

Lucienne,  by  Gramont 

Lucrece  Borgia,  by  Hugo 

XXIII  B  1,  XXXII  A  2,  XIX  B  1  and 
Luther,  by  Werner 
Lutte  pour  la  vie  (La),  by  Daudet 
Lydie,  by  Miral 
Lyncee,  by  Theodecte 

by  Abeille 
Lys  (Les>,  by  Wolf  and  Leroux 


XXXII 

B 

3 

XX  XI I 

A 

3 

XXIV 

D 

1 

XVIII 

D 

1 

XXV 

A 

1 

VI 

C 

3 

XIX 

D 

XX 

A 

4 

XV 

B 

XXIX 

A 

4 

XXIII 

B 

3 

XXIII 

B 

3 

xxvm 

D 

1 

M 


Macbeth,  by  Shakespeare 

Madame  Bovary,  by  Flaubert 

Madame  Caverlet,  by  Augier 

Madame  de  Maintenon,  by  Coppee 

Madame  1  Amirale,  by  Mars  and  Lyon 

Madame  la  Mort,  by  Mme.  Rachilde 

Madame  Margot,  by  Moreau  and  Clairville 

Madame  Thexese,  by  Erckmann-Chatrian 

Madeleine,  by  Zola 

Mile,  de  Bressier,  by  Delpit 

Mile,  de  Maupin,  Gautier 

Madhouranirouddha,  by  Vira 

Mahaviracharita,  by  Bhavabuti 

Mahomet,  by  Voltaire 

Maidens  of  Trachis,  by  Sophocles 

Maison  d'argile    La  .  by  Fabre 

Maison  dee  deux  Barbeaux     I. a  ,  by 

Theuriet 
Maitrc    Le  ,  by  J.  Jullien 
Maltre  Aml)ros.  by  Widor 
Malatia  and  Madhava,  by  Bhavabuti 


Malefilatre    Le    .  bj  Porto  Riche 

Malheur  aux  paut  ■■  \.  Bouvier 

Mauian  Colibri,  by  Bataille 
Manfred,  by  Byron 
niangeront-ils,  by  Hugo 

Manr,ei|inn   ■]  I  .■     .   bj    I  r   uki- 

Manon  l.i-  r;uit,  by  PreVOSl 

Maquignon    l.<  .  by  i"  z  and  Dumur 
M archande  de  •  ourii r      I ■■•■  .  by  Judil h 

Gautier 
Marl    Le),  by  Nu   and  Arnould 


and 


and 


XXX 

c 

1 

x\\ 

c 

7 

XXVII 

A 

1 

XXI 

B 

12 

XXVI 

B 

XXIV 

B 

s 

VII] 

A 

li 

X  X  1  X 

A 

1 

XXXI  V 

B 

1 

XXIX 

B 

2 

\\  III 

XXIX 

A 

4 

\ 

c 

■2 

XIX 

E 

xx\ 

B 

1 

XII 

\ 

3 

\\\ 

c 

4 

XIII 

B 

1 

XXXIII 

B 

1 

X 

c 

1 

X  X  1  \ 

(' 

1 

\  \\ 

1 

XXXI] 

C 

:t 

XXII 

c 

1 

XXXI  V 

\ 

1 

\XI\ 

\ 

:{ 

1 

\ 

3 

XXV 

(" 

I 

X\\  II 

B 

i. 

III 

\ 

l 

XXIX 

H 

7 

\x\ 

1 

1 

146 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Manage  d'Andre  (Le),  by  Lemaire  and  de 

Rouvre 
Manage  de  Mile.  Beulemans  (Le),  by 

Fonson  and  Wicheler 
Manage  d'Olympe  (Le),  by  Augier 
Marianne,  by  Dolce. 
Marianne,  by  Tristan  l'Hermite 
Marianne,  by  Voltaire 
Marie  Stuart,  by  Alfieri 
Marie  Stuart,  by  Schiller 
Marie  Stuart,  by  Samson 
Marie  Tudor,  by  Hugo 

and 

Marino  Faliero,  by  Byron 
Marion  Delorme,  by  Hugo 

and 

Marius  vaincu,  by  Mortier 

Marjolaine  (La),  by  Richepin  fils 

Marquis  de  Priola  (Le),  by  Lavedan 

Martyre,  by  Dennery 

Martyrs  (Les),  by  Chateaubriand 

Massiere  (La),  by  Lemaitre 

Master  Builder  (The),  by  Ibsen 

Maternite,  by  Brieux 

Maucroix  (Les),  by  Delpit 

Measure  for  Measure,  by  Shakespeare 

Medea,  by  Euripides 

"       by  Corneille 

"       by  Seneca 
Mejor  Alcalde  el  Rey  (El),  by  Lope  de  Vega 
Meistersinger  (Die),  by  Wagner 
Melanippe,  by  Euripides 
Meleager,  by  Sophocles 
Memnon,  by  Aeschylus 
Menages  de  Paris  (Les),  by  Raymond 
Mensonges,  by  Bourget 
Mer  (La),  by  J.  Jullien 
Merchant  of  Venice  (The),  by  Shakespeare 
Mere  du  Pape  (La),  Miracle  of  Notre-Dame 
Mere  meurtrier  de  son  enfant  (La),  Miracle 

of  Notre-Dame 
Meres  ennemies  (Les),  by  Mendes 
Merope,  by  Maffei 
by  Voltaire 

"        by  Alfieri 
Message  of  Angada  (The),  by  Soubatha 
Mill  (The),  by  Lope  de  Vega 
Minister's  Ring  (The),  by  Vishakadatta 
Minos,  by  Sophocles 
Miroirs  (Les,),  by  Roinard 


XVIII 


B     1 


XXIV 

A 

3 

XXVII 

B 

8 

XXXII 

A 

1 

XXXII 

A 

1 

XXXII 

A 

1 

XXXIII 

A 

2 

XXIV 

B 

2 

XXIV 

B 

2 

XXIV 

B 

3 

XIX 

VI 

c 

1 

XXVII 

B 

4 

XIX 

XXX 

A 

3 

XXIV 

A 

6 

XXVII 

A 

1 

XXI 

C 

1 

XXXI 

A 

2 

XIV 

B 

1 

XVII 

A 

1 

VI 

D 

1 

XIV 

A 

1 

XXI 

D 

2 

XXV 

A 

1 

XXV 

A 

1 

XXV 

A 

1 

III 

A 

3 

XXIV 

A 

9 

XXIII 

B 

1 

IV 

B 

IX 

B 

2 

XXV 

B 

3 

XXVII 

B 

7 

XIII 

D 

III 

B 

6 

XXXI 

B 

4 

XVII 

C 

2 

XXV 

B 

2 

XIX 

B 

1 

XIX 

B 

1 

XIX 

B 

1 

X 

C 

2 

XXIV 

A 

5 

XII 

A 

I 

A 

1 

XXV 

D 

1 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


147 


Miss  Fanfare,  by  Ganderax  XXV 

Miss  Sara  Sampson,  by  Lessing  XXV 
Mission  de  Jeanne  d'Arc  (La),  by  Dalliere       VIII 

Mithridate,  by  Racine  XIX 
Mon  ami  Teddy,  by  Rivoire  and  Bernard         XXIV 

Mon  frere,  by  Mercereau  XIII 

Monna  Vanna,  by  Maeterlinck  XXXII 

Monsieur  Alphonse,  by  Dumas  fils  X  XVII 

Monsieur  Bute,  by  Biollay  ■  XVI 

Monsieur  de  Morat,  by  Tarbe  XXV 
Montansier  (La;,  by  Jeoffrin,  de  Flers  and 

de  Caillavet  XXV 

Monte  Cristo,  by  Dumas  pere  ill 

Montmartre,  by  Frondaie  \  XVIII 

Morte  de  Cesar  (La),  by  Voltaire  XXX 

Morte  (La),  by  Barlatier  XXIV 

Mouettes  (Lesj,  by  P.  Adam  X  XIII 

Mrigancalckha,  by  Viswanatha  \  XIV 

Mrs.  Warren's  Profession,  by  Shaw  XXVII 
Much  Ado  About  Nothing,  by  Shakespeare      X  X  X  1 1 

Myrane,  by  Bergerat  XXV 

Myrmidons  (The),  by  Aeschylus  VI 

Myrrha,  by  Alfieri  XXV] 

Myrtille,  by  Hrckmann-Chatrian  XXVIII 

Mysians  (The),  by  Aeschylus  1 

Mystery  of  Adam  (The),  XII  Century  VI 


B 

7 

A 

1 

B 

1 

B 

1 

A 

7 

A 

o 

A 

1 

B 

7 

A 

3 

B 

3 

C 

3 

B 

4 

E 

A 

o 

id 

B 

8 

A 

3 

A 

1 

A 

1 

B 

1 

B 

7 

A 

1 

A 

2 

A 

•■> 

B 

~{ 

A     :\ 


N 

Nana,  by  Zola 

Nana-Sahih,  by  Richepin 

Naninc,  by  Voltaire 

Natural  Daughter   The),  by  <  loethe 

Nauplius,  by  Sophocles 

Nausicaa,  by  Sophocle 

Necklace   The  ,  by  Sn  Harshadeva 

N'emea,  by  \&  chylufl 
Nereides  (The  ,  by  Aeschylus 

Nick  Tarter,  by  Livel   ami   I'.i  son 

Nicomede,  by  <  lorneille 

Niebelung   Tin-  ,  bj  \\  agner 

Nina  de  Plata  (La  .  by  Lope  de  \  ega 

Ninety-Three,  bj  1 1 

Nioiie,  by  Aeschj  It 

Niohe,  by  Sophocle 

Nitet  is,  by    MetaSta    ,,, 

Noces  Corinl  hienne     I  *     .  by  Fra 

Nurse-    The  ,  by  Aeschylus 

Nouveau  Monde    I  i 

Adam 


XXII 

\ 

6 

V 

(• 

X  X  \  III 

A 

1 

\  II 

\ 

III 

\ 

•> 

1 

B 

1 

XXIV 

1) 

:i 

IX 

\ 

III 

\ 

7 

III 

C 

\ 

c 

\ 

c 

\.\l\ 

\ 

6 

Will 

\ 

a 

\\\  1 

\ 

i 

\.\\l 

1', 

i 

XXVIII 

A 

i 

XXIX 

\ 

i 

■•.  1 

B 

i 

\  x  \ 


('    1 


US 


THIRTY-SIX   DRAMATIC  SITUATIONS 


Nuit  de  Saint-Jean  (La),  by  Erekmann- 

Chatrian  XXIV 

Numa  Roumestan,  by  Daudet  XXV 


A      7 
B     2 


O 


Obstacle  (L'),  by  Daudet 
Octavia,  by  Seneca 
Odette,  by  Sardou 
OZdipus,  by  Aeschylus 

by  Sophocles 

by  Corneille 

by  Seneca 

by  Voltaire,  etc. 
CEdipus  at  Colonus,  by  Sophocles 

CBnee,  by  Sophocles 
GEnomaus,  by  Sophocles 
by  Euripides 
OZuvre  (L'),  by  Zola 
Ogre  (L'),  by  Marthold 
Oicles,  by  Sophocles 
Olympiade,  by  Metastasio 
Olympie,  by  Voltaire 

On  ne  badine  pas  avec  l'amour,  by  Musset 
Opium,  by  Bonnetain 
Or  (L'),  by  Peter  and  Danceny 
Orbeeehe,  by  Giraldi 
Oreille  fendue  (L  ),  by  Nepoty 
Orestes,  by  Euripides 
Oreste,  by  Alfieri 

by  Voltaire 
Orithyie,  by  Aeschylus 

"      by  Sophocles 
Othello,  by  Shakespeare 
Othon,  by  Corneille 


XXIV 

A 

8 

XV 

B 

XXVII 

A 

1 

XVIII 

A 

1 

XVIII 

A 

1 

XVIII 

A 

1 

XVIII 

A 

1 

XVIII 

A 

1 

I 

A 

3 

and  XII 

A 

II 

B 

2 

IX 

D 

2 

IX 

D 

2 

XX 

A 

4 

XXXIII 

D 

3 

I 

A 

1 

XIX 

B 

1 

XXIX 

B 

1 

>t      XVII 

C 

2 

XXII 

C 

2 

III 

A 

1 

IV 

D 

XXVII 

A 

3 

XXIV 

A 

2 

XXXIV 

A 

2 

XXXIV 

A 

2 

X 

A 

X 

A 

XXXII 

B 

1 

XX 

B 

1 

Page  blanche,  by  Devore 

Pain  d'autrui  (Le),  by  Ephraim  and 

Schutz,  after  Turgeniev 
Palamede,  by  Aechylus 
Palamede,  by  Euripides 

Palamede,  by  Sophocles 
Pandore,  by  Voltaire 

Pandore,  by  Goethe 

Papa,  by  de  Flers  and  de  Caillavet 


XXV 


C     1 


XIX 

E 

XI 

C 

3 

XI 

C 

3 

and  XXXIII 

C 

2 

XXXIII 

C 

2 

XXIV 

A 

1 

and  XVII 

C 

1 

XVII 

C 

1 

XIV 

B 

1 

INDEX  OF  PLAYS,  NOVELS,  ETC.  149 


Paraitre,  by  Donnay 
Parsifal,  by  Wagner 
Partage  de  midi,  by  Claudel 
Passageres  (Les),  by  Coolus 
Patrie,  by  Paladilhe  and  Sardou 
Peau  d'ane,  by  Perrault 
Peche  de  Marthe  (Le),  by  Rochard 
Peleus,  by  Sophocles 

Peleus,  by  Euripides 

Pelerin  d'amour  (Le),  by  Emile-Michelet 

Peliades  (The),  by  Euripides 

Pelias,  by  Sophocles 

Pelleas  and  Melisande,  by  Maeterlinck 
Pelopides  (The),  by  Voltaire 
Penelope,  by  Aeschylus 
Pentheus,  by  Aeschylus 
Penthesilea,  by  Aeschylus 
Pere  Chasselas  (Le),  by  Athis 
Pere  prodigue  (Le),  by  Dumas  fils 
Pericles,  by  Shakespeare 

Perkin  Warbeck,  by  Ford 
Perrhoebides  (The),  by  Aeschylus 
Persians  (The),  by  Aeschylus 
Pertharite,  by  Corneille 
Petit  ami  (Le),  by  Leautaud 
Petite  amie  (La),  by  Brieux 
Petite  Caporale  (La),  by  Darlay  and 

Gorssc 
Petite  chocolatiere  (La),  by  Gavaull 
Petite  Hollande,  by  (iuitry 
Petite  milliardaire  (La),  by  Dumay  and 

Fori 

Pet  ite  Mionne     La  ,  liy  RicheboUTg 

Pel  ite  paroisse  (La  ,  by  I  >aude1 
Petit  Jacques  i  Le  i,  by  I  tannery 
Pel  ii  Poucel    Le  .  by  Perraull 

Phaedra,  liy  Sophocles 

Phaeton,  by  Euripide 

Pheaciana  (The  ,  by  Sophocle 
Phedre,  by  Racine 

Philippe  1 1,  hy  Allien 

PhilOCteteS,  hy  Aeschylus 
by  Sophocles 

by  Euripide 
Philoctete    in  Troy,  by  Sophocle 
Phineu  .  by  Ae  chylua 


XXV 

D 

1 

IX 

C 

2 

XV 

A 

1 

XXIV 

B 

6 

XXV 

D 

2 

XXVI 

A 

3 

XXVIII 

B 

II 

B 

1 

and  VII 

C 

1 

VII 

C 

1 

XXVII 

B 

7 

XIX 

E 

XVII 

C 

4 

and  XIX 

E 

XIV 

A 

3 

XIII 

A 

2 

III 

B 

2 

XXXI 

A 

1 

XXXVI 

C 

X  X  X  Y 

XIV 

B 

1 

XI 

B 

2 

and  XXXV 

X  X  X 

B 

111 

A 

5 

VI 

A 

1 

XXI 

D 

2 

XXVI 

A 

1 

XXVIU 

A 

v) 

IX 

1) 

•  ) 

xxvin 

A 

•  > 

X  X  1  Y 

B 

(i 

X  X  1 Y 

A 

7 

XIX 

A 

:t 

XXV 

c 

•1 

XXI 

1) 

l 

VI 

1) 

o 

XXVI 

B 

1 

XVII 

\ 

1 

and  XXXI 

l'. 

6 

1 

K 

l 

\\\  1 

1'. 

l 

\1\ 

B 

3 

and   XXV] 

H 

•  > 

XII 

A 

\ll 

\ 

Ml 

\ 

1 

K 

:i 

l\ 

B 

•> 

150 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Phineus,  by  Sophocles 
Phoenissae  (The),  by  Aeschylus 
"       by  Euripides 
"  "       by  Seneca 

Phoenix,  by  Euripides 
Phorcides  (The),  by  Aeschylus 
Phrixus,  by  Sophocles 
Phrixus,  by  Euripides 
Phrygians  (The),  by  Aeschylus 
Phtiotides  (The),  by  Sophocles 
Physician  of  his  Honor  (The),  by  Calderon 
Pierre  et  Jean,  by  Maupassant 
Pierre  et  Therese,  by  Prevost 
Pierre  Pascal,  by  Mme.  de  Chabrihan 
Pierre  Vaux,  by  Jonathan 
Pierrot  assassin  de  sa  femme,  by 
Margueritte 

Pierrots  (Les),  by  Grillet 

Pieuvre  (La),  by  Morel 

Plus  faible  (La),  by  Prevost 

Policiere  (La),  by  Montepin 

Polydectes,  by  Aeschylus 

Polyeucte,  by  Corneille 

Polyidus,  by  Sophocles 
"  by  Euripides 

Polynice,  by  Alfieri 

Polyheme,  by  Samain 

Polyxena,  by  Sophocles 

Pompee,  by  Corneille 

Port-Tarascon,  by  Daudet 

Portrait  (The),  by  Massinger 

Possede  (Le),  by  Lemonnier 

Pot-Bouille,  by  Zola 

Poupees  electriques,  by  Marinetti 

Poussin  (Le),  by  Guiraud 

Powers  of  Darkness  (The),  by  Tolstoi 

and 

Pretre  (Le),  by  Buet 
Priestesses  (The),  by  Aeschylus 
Princesse  de  Bagdad  (La),  by  Dumas  fila 
Princesse  Georges  (La),  by  Dumas  fila 
Princess  Maleine  (The),  by  Maeterlinck 
Prince  Zilah  (The),  by  Claretie 
Procris,  by  Sophocles 
Prometheus,  by  Aeschylus 
Prometheus  Bound,  by  Aeschylus 


II 

XX 

XIII 

XIII 

XIV 

IX 

III 
III 
I 

XXXII 

XXV 

XIV 

XXVII 

XV 

XXI 


and 


Prometheus  Unbound,  by  Aeschylus 
Propompes  (The),  by  Aeschylus 
Proserpine,  by  Vacquerie  and  Saint-Saens 
Protesilas,  by  Euripides 


XXXIV 

XXXIII 

XXXIII 

XXVIII 

XXVII 

XIX 

XX 

XI 

XI 

XIII 

XXIV 

XXXVI 

III 

XVII 

XXXII 

XXII 

XXV 

XXXIII 

XXVIII 

XIII 

XV 

III 

XIX 

XXXII 

XXV 

VII 

XXVII 

XIX 

IX 

VII 

V 

IX 

I 

XXV 
XX 


B 

2 

A 

3 

A 

1 

A 

1 

B 

3 

B 

2 

B 

4 

B 

4 

B 

4 

C 

4 

D 

1 

A 

1 

A 

2 

A 

1 

D 

1 

A 

4 

B 

2 

C 

1 

A 

2 

C 

F 

2 

B 

1 

A 

A 

A 

1 

A 

1 

A 

1 

A 

4 

C 

4 

C 

1 

A 

5 

C 

7 

B 

3 

D 

2 

E 

A 

1 

A 

1 

C 

2 

A 

1 

B 

3 

A 

B 

3 

G 

1 

C 

1 

C 

1 

C 

D 

1 

C 

1 

B 

7 

A 

2 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


151 


Psyche,  by  Corneille 
Psychostase,  by  Aeschylus 
Pulcherie,  by  Corneille 
Purloined  Letter  (The),  by  Poe 


XVII 

B 

2 

XXXVI 

c 

XX 

B 

3 

XI 

A 

Q 

Quarts  d'heure  (Les),  by  Quiches  and 
Lavedan 

14  juillet  (Le),  by  Rolland 
4x7  equals  28,  by  Coolus 
Question  d'argent  (La),  by  Uumas  tits 


R 


XXVII 
and  XXV 
\  III 

x  xxu 

XXIV 


Raffles,  by  Hornung 

Rama,  by  Bhavabuti 

Ramuntcho,  by  Loti 

Rantzau  (Les),  by  Erckman-Chatrian 

Raoul  de  Crequi,  by  Dalayrac 

Reformateur  (Le),  by  Rod 

Regiment  (Le),  by  J.  Mary 

Regulus,  by  Pradon 

Regulus,  by  Metastasio 

Reine  aux  trois  fils  (Laj,  Miracle  of  Notre- 

Dame 
Reine  Fiammette  (La),  by  Mendt^ 


Rembrandt,  by  Dumur  and  Josz 

Rencontre  (La),  by  Berton 

Rene,  by  Chateaubriand 

Renee,  by  Zola 

Renee  Mauperin,  by  the  Goncourta 

Resentment  of  Te-oun-Ko  (The),  by 

Kouan-han-khiK 
Resurrection,  by  Tolstoi 
Rfive  (Le),  by  Zola 

Reveil  (Lej,  by  Hervieu 
Revoltee,  t>;,'  Lemaltre 
Revoltee  (Lea  .  by  fain  and  Adenia 
Rhadarniste  ft  Zenobie,  by  Creoillon 
Rhesus,  by  Euripides 

Richard  Coeur-de-lion,  by  Sedaine 

Richard  1 1,  by  Shakespeare 
Richard  III,  by  shai.<  peare 
Risque  (Le  .  by  Coo 
Rivoli,  by  raucl 


and 


and 


and 


V 

X 

XXVIII 

XXIX 

XXV 

VI 

XXVI] 

XX 

XX 

X  X  X  V 
XXXIII 
X  X  1  X 
VII 
XXV 
XXXI  v 
XXVI 
XVII 

III 

XX 

I 

XX] 

III 

XXV 

l\ 

WW  1 

\ 

XXXV 

\l 

\\\ 
\I\ 
\\\ 


A 

l 

(' 

4 

B 

2 

A 

3 

A 

7 

A 

C 

2 

A 

1 

A 

3 

H 

C 

1 

D 

3 

A 

1 

A 

1 

A 

3 

B 

3 

D 

C 

4 

B 

B 

o 

c 

o 

B 

c 

B 

L' 

C 

2 

C 

4 

\ 

6 

I 

•1 

n 

1 

c 

l> 

1 

B 

l 

1 

\ 

4 

l 

7 

152 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Robert-le-Diable,  Miracle  of  Notre-Dame 
Rodogune,  by  Corneille 
Roger-la-honte,  by  J.  Mary 


and 


Roi  Cerf  (Le),  by  Gozzi 

Roi  de  l'argent  (Le),  by  Milliet 

Roi  de  Rome  (Lei,  by  Pouvillon 

Roi  s'amuse  (Le),  by  Hugo 

Roi  sans  couronne  (Le),  by  St.  Georges 

de  Bouhelier 
Roi  sans  royaume  (Le),  by  Decourcelle 
Roi  Soleil  (Le),  by  Bernede 
Rolande,  by  de  Gramont 
Roman  d'Elise  (Le),  by  Richard 
Roman  d'une  Conspiration  (Le),  by 

Fournier  and  Carre 
Romeo  and  Juliet,  by  Shakespeare 
Rosemonde,  by  Rucellai 
Rosse,  tant  at  plus,  by  Mustiere 
Route  d'Emeraude  (La),  by  Demolder  and 

Richepin 
Ruy-Blas,  by  Hugo 


Saint-Alexis,  Miracle  of  Notre-Dame 
Suinte-Helene,  by  Mme.  Severine 
Saint-Ignace  d'Antioch,  Miracle  of  Notre- 
Dame 
Saint  Julien  l'hospitalier,  by  Flaubert 

Sais  (Le),  by  Mme.  Ollognier 
Sakuntala,  by  Kalidasa 

and 
Salammbo,  by  Flaubert 
Salaminians  (The),  by  Aeschylus 
Salome,  by  Oscar  Wilde 
Samson,  by  Voltaire 
Samson,  by  Bernstein 
Samson  et  Dalila,  by  Saint-Saens 
Sang-brule  (La),  by  Bouvier 
Sapho,  by  Gounod 
Sapho,  by  Daudet 
S.  A.  R.,  by  Chancel 
Sardanapalus,  by  Byron 
Saul,  by  Alfieri 
Saul,  by  Gide 
Srundale  (Le),  by  Bataille 
Schism  of  England  (The),  by  Calderon 
Sculpteur  de  Masques  (Le),  by  Cromelynck 
Scythes  (Lea),  by  Voltaire 
Second  Faust  (The),  by  Goethe 
Secret  de  Gilberte  (Le),  by  Massiac 


V 

A 

XIII 

E 

XXXIII 

D 

5 

III 

B 

4 

XVIII 

D 

1 

XXXIII 

B 

3 

VII 

B 

XIX 

A 

4 

VIII 

A 

1 

VIII 

A 

1 

XXXIII 

C 

2 

XXII 

c 

1 

XXVIII 

D 

2 

VIII 

A 

2 

XXIX 

B 

6 

IV 

C 

VIII 

A 

2 

XXII 

A 

6 

XIX 

XIX 

G 

3 

III 

A 

2 

XX 

A 

4 

XIX 

E 

XXIV 

A 

3 

XVI 

C 

XXXV 

VIII 

B 

1 

VI 

C 

2 

XXII 

B 

XVII 

C 

3 

XXV 

D 

1 

XV 

A 

2 

XXVI 

C 

1 

XXXIII 

D 

1 

XXII 

A 

3 

XX 

B 

3 

VI 

A 

2 

XIII 

D 

XVI 

B 

XXXIV 

B 

2 

XV 

B 

XXVI 

C 

1 

XXIX 

A 

4 

IX 

D 

3 

XXVII 

B 

2 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


153 


Secret  de  la  Terreuse  (Lej,  by  Busnaeh 
Secret  Vengeance  for  Secret  Outrage,  by 

Calderon 
Semele,  by  Aeschylus 
Semiramis,  by  Manfredi 
Semiramis,  by  Crebillon 
Semiramis,  by  Voltaire 
Semiramide  riconosciuta,  by  Metastasio 

Serenade  tLa),  by  J.  Jullien 

Serge  Panine,  by  Ohnet 

Serpent  Woman  (The),  by  Gozzi 

Sertorius,  by  Corneille 

Seven  Against  Thebes,  by  Aeschylus 

Seven  Princesses  (The),  by  Maeterlinck 

St'vero  Torelli,  by  Coppee 

Shepherd  King  (The),  by  Metastasio 

Sherlock  Holmes,  by  Conan  Doyle 

Shepherds  (The),  by  Sophocles 

Sieba,  by  Manzotti 

Sigurd,  by  Reyer 

Simone,  by  Brieux 

Simon,  l'enfant  trouve,  by  Jonathan 

Singer  (The),  anonymous  Chinese  drama 

Sinon,  by  SophoHi a 

Sire,  by  Lavedan 

Siroes,  by  Metastasio 

Sir  Thomas  Wyat,  by  Webster 

Smilis,  by  Aicard 

Soeurette,  by  Borteau-Lm  i 
Son  Excellence  Eugene,  by  Zola 
Sons  of  Pandou    The  ,  by  Radjasekhara 
Sophonisbe,  by  Trissino 

by  Mairel 

by  Alfieri 
Sorciere  (Lai,  by  Sardou 
Souris    I. a  ,  by  Pailleron 
Sphinx    The  ,  by  A.( 

Statue  (The),  by  Radjasekhara 

Stella,  by  Goethe 

Story  of  Yayati  (The  ,  by  Roudradeva 

Suppliants   The  .  by  4< 

Suppliants  (The  ,  by  Euripide 

Suzette,  by  Brieux 

Surcoui,  by  Planquette 

Surena,  by  Corneille 


and 


and 


Tancrede,  by  Voltaire 


:il,i| 


XXXIII 

B 

4 

XXV 

D 

1 

XIII 

B 

1 

XXVI 

A 

1 

XXVI 

A 

1 

XIX 

D 

XXIV 

B 

8 

XXXII 

B 

1 

XXV 

c 

3 

XXV 

B 

2 

XXXIII 

A 

1 

XX 

B 

3 

XIII 

A 

2 

XXXVI 

B 

XXVII 

D 

4 

XXVIII 

(' 

1 

III 

c 

VI 

A 

1 

XXVIII 

B 

xx\ 

C 

3 

XXVI I 

D 

6 

III 

A 

(i 

III 

A 

1 

IX 

1) 

1 

XXVII 

B 

7 

XXXIII 

B 

•> 

XXX 

B 

XXI 

A 

•> 

\\\ 

C 

4 

XXV 

C 

7 

X  X  X 

C 

1 

III 

\ 

6 

XX 

B 

a 

XX 

B 

a 

XX 

B 

a 

XXIV 

1! 

i 

XIV 

\ 

i 

\l 

li 

i 

XXIV 

D 

a 

\\\ 

B 

6 

XXIX 

\ 

•> 

1 

\ 

I 

1 

\ 

•> 

XX1\ 

\ 

i 

XX  IN 

\ 

6 

\\XII 

\ 

a 

X  X  X  1 1 

A 

i 

II 

A 

154 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Tanis  et  Zelide,  by  Voltaire 

Tannhaeuser,  by  Wagner 

Tartarin,  by  Daudet 

Taverne  des  Trabans  (La),  by  Erckmann 

Chatrian 
Tchitra  Yadjgna,  by  Vedanyatha 

Yatehespati 
Telephus,  by  Euripides 
Telephus,  by  Aeschylus 
Telephus,  by  Sophocles 
Tempest  (The),  by  Shakespeare 
Tenailles  (Les),  by  Hervieu 
Temptation  of  Saint  Anthony  (The),  by 

Flaubert 
Tereus,  by  Sophocles 
Terre  (La),  by  Zola 


and 


Terre  d'epouvante,  by  Morel  and  de  Lorde 

Teucer,  by  Sophocles 

Thamiras,  by  Sophocles 

Themistocles,  by  Metastasio 

Theodora,  by  Sardou 

Theodore,  by  Corneille 

Therese  Raquin,  by  Zola 

and 

Thermidor,  by  Sardou 

Theseus,  by  Euripides 

Thracians  (The),  by  Aeschylus 

Three  Punishments  in  One,  by  Calderon 

Thyestes,  by  Seneca 

Thyestes  in  Sicyon,  by  Sophocles 

Thyestes  II,  by  Sophocles 

Timoleon,  by  Alfieri 

Timon  of  Athens,  by  Shakespeare 

'Tis  Pity  She's  a  Whore,  by  Ford 

Titan,  by  Jean-Paul  Richer 

Tite  et  Berenice,  by  Corneille 

Toilers  of  the  Sea,  by  Hugo 


Torquemada,  by  Hugo 

Torrent  (Le),  by  Donnay 

Torrismond,  by  Tasso 

Tosca  (La),  by  Sardou 

Trains  de  luxe  (Les),  by  Hermant 

Trente  ans  ou  la  vie  d'un  joueur,  by 

Ducange 
Tribun  (he),  by  Bourget 
Tribut  de  Zamora  (Le),  by  Gounod 
Trisan  and  Isolde,  by  Wagner 
Triumvirat  (Le),  by  Voltaire 
Troilus,  by  Aeschylus 


and 
XXIII  and 


XXIV 

XXII 

VI 

XXIX 

XXXI 

I 

XIX 
XIX 

III 

XXV 
XXII 

III 

XXX 

XIII 

VI 

VI 

XXXI 

XX 

XXXIII 

XX 

XXXIV 

XV 

VIII 

IX 

XVI 

XIII 

XIII 

XXXV 

XIII 

XXX 

VI 

XXVI 

XVIII 

XX 

XXIV 

IX 

XIX 

XXV 

XVIII 

XXI 

XXIV 

XXII 

XXVII 

XXIV 

XXV 

XXIV 

XXXVI 


A  2 

A  2 
B 

A  3 

B  1 

B  3 


B 

1 

B 

1 

B 

1 

C 

1 

B 

B 

5 

C 

1 

B 

1 

A 

4 

C 

2 

B 

3 

A 

2 

A 

3 

D 

A 

4 

A 

1 

A 

1 

D 

1 

B 

B 

1 

A 

2 

A 

2 

A 

1 

C 

1 

C 

2 

D 

2 

B 

3 

A 

7 

D 

2 

A 

3 

C 

1 

A 

2 

D 

2 

B 

6 

C 

2 

D 

2 

A 

3 

C 

3 

A 

3 

A 

1 

INDEX  OF  PLAYS,  NOVELS,  ETC. 


155 


Troilus  and  Cressida,  by  Shakespeare 
Troades  (The),  by  Euripides 

"   .        "        by  Seneca 
Troyens  (Les),  by  Berlioz 


and 


Tullia,  by  Martelli 

Tunic  Confronted  (The),  by  Tchang-koue- 

pin 
Turandot,  by  Gozzi 
Twenty-fourth  of  February  (The),  by 

Werner 
Two  foscari  (The),  by  Byron 
Two  Gentlemen  of  Verona,  by  Shakespeare 
Two  Noble  Kinsmen  (The),  by  Beaumont 

and  Fletcher 


V 

c 

XXXVI 

A 

1 

XXXVI 

A 

1 

I 

B 

1 

XX 

B 

3 

XXX 

C 

2 

III 

A 

1 

XI 

C 

1 

XIX 

B 

1 

III 

A 

1 

XIV 

D 

XIV 


u 

Ubu-Roi,  by  Jarry 

Ulysses  Furens,  by  Sophocles 

Un  ange,  by  Capus 

Un  divorce,  by  Moreau 

Un  drole,  by  Yves  Guyot 

Une  famille  au  temps  de  Luther,  by 

Delavigne 
Une  femme  passa,  by  Coolus 
Une  nuit  de  Cleopatre,  by  Gautier  and 

V.  Masse 

Un  patriote,  by  Dartois 

Un  voyage  de  noces,  by  Tiercelin 


XXX 

XI 

XXII 
XXXII 
X  X  V 

XIII 
XIV 

XXII 
and  XXIV 
XXIII 

XXV 


Valentinian,  by  Beaumont  and  Fletcher 

Varennea,  by  Lenotre  and  Lavedan 

Vautrin,  by  Balzac 

Veine  (La;,  by  Capus 

Venisamhara,  by  Bhatta  \arayana 

Ventre  de  Paria  (Le),  by  Zola 

Veuve  joyeu  e    I.:.  .  by  Meilhac,  Leon  and 

St*;in 
Vicomtee  e  Alice    I. a  ,  by  Second 
Vidocq,  by  Bergeral 
Victory  of  Arjuna  (The  ,  by  Cantchana 

Atcharya 
Victory  of  Pradyoumna  (The),  by  Samara 

Dikchita 
Vieil  homme  (Le  .  by  Porte  Riche 
Vielle  hiatoire,  by  .1.  Jullien 
Vie  publique    I. a  ,  by  Fabre 


XXX111 
XXIV 

XXVI 

xxv 
III 

X  X  X  1 1 1 

\\\  111 
III 

IX 

XXIX 
Xl\ 
\X\  II 
XXX 


c 

c 

:{ 

C 

•2 

A 

1 

C 

1 

A 

1 

1) 

A 

5 

B 

•1 

B 

1 

A 

o 

1) 

1 

B 

:i 

1) 

l 

\ 

■A 

\ 

• 

c 

•  ) 

\ 

•) 

D 

C 

C 

L' 

\ 

•  > 

I'. 

■ ' 

\ 

•  > 

c 

I 

156 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Vierge  (La),  by  Vallette 

Vierge  folle  (La),  by  Bataille 

Virgin  Martyr  (The),  by  Massinger 

Vittoria  Corombona,  by  Webster 

Vive  le  roi!  by  Ryner 

Voix  de  sang  (La),  by  Mme.  Rachilde 

Voleur  (Le),  by  Bernstein 


W 


Waiting-Women  (The),  by  Aeschylus 

\\  allenstein,  by  Schiller 

War  of  the  Worlds  (The),  by  Wells 

Weavers  of  Nets  (The),  by  Aeschylus 

Weavers  of  Silesia  (The),  by  Hauptmann 

Werner,  by  Byron 

Werther,  by  Goethe 

Wild  Duck  (The),  by  Ibsen 

William  Tell,  by  Schiller 

Winter's  Tale  (A),  by  Shakespeare 
Women  of  Colchis,  by  Sophocles 
Women  of  Scyros,  by  Sophocles 
Wool-Carders  (The),  by  Aeschylus 
Worst  is  not  Always  Certain  (The),  by 
Calderon 


and 


XXXII 

A 

4 

XXV 

B 

9 

XX 

D 

XV 

A 

1 

XX 

A 

4 

XIX 

G 

3 

XXXIII 

A 

3 

XX 

A 

2 

XXX 

A 

3 

VI 

A 

2 

XVI 

A 

1 

VIII 

B 

2 

XXVII 

C 

XXXIV 

B 

XVII 

C 

1 

VIII 

B 

2 

III 

B 

6 

XXV 

XXV 

A 

1 

XI 

C 

2 

XXXI 

A 

1 

XXXII 


A     1 


X 


Xoanephores  (The),  by  Sophocles 


VI 


A     2 


Zaire,  by  Voltaire 
Zeim,  by  Gozzi 
Zenobia,  by  Metastasio 
Zoe  Chien-chien,  by  Mathey 
Zulime,  by  Voltaire 


XXXII 

A 

2 

XXVIII 

B 

XXV 

C 

2 

IV 

A 

2 

XXIV 

B 

4 

ALPHABETICAL  INDEX  OF  AUTHORS 


Abeille:  Lyncee  XXIII 

Arhaeus:  (Edipus  XVIII 

Adam  (Paul):  L'Automne  VIII 

Les  Mouctli  XXIII 

Adam  de  la  Halle:  Le  Jeu  <!<•  la  Feuillee  \'I1 
Le  Jeu  de  Robin  et  de 

Marion  X 

Adonis:  Les  Revolt es  III 

Aeschylus:  The  Suppliants  1 

The  Heraclidae  I 

The  Eumenides  I 

The  Eleusinians  I 

Danae  I 

The  Mysians  I 

The  Phrygians  I 

The  Propom  I 

The  Epigones  1 1 1 

The  Argives  III 

The  Perrhoebide  1 1 1 

Ixion  III 

The  Nereids  III 

Penelope  ill 

Les  Joueura  d'osselel  III 

and  VII 

The  ( !hoephoree  I  \ 

Atalanta  l\ 

Prometheui  Bound  \ 

and  VII 

The  Persian  \  I 

The  Myrmidoi  VI 

The  Salaminiai  \  I 

TheGui  VII 

Nemea  \  I 


1 1 
t  i 


B 

3 

A 

1 

B 

•i 

A 

S 

C 

1 

A 

A 

5 

A 

1 

A 

1 

A 

1 

\ 

•> 

B 

•> 

B 

3 

B 

I 

(' 

1 

A 

1 

\ 

1 

A 

5 

\ 

6 

\ 

7 

B 

•  > 

1? 

•  > 

B 

A 

1 

B 

C 

c 

1 

\ 

1 

\ 

1 

1 

2 

B 

\ 

1 58 


THIRTY-SIX   DRAMATIC  SITUATIONS 


\.eschyl 

us:  The  Phorcides 

IX 

B 

2 

ii 

Phineus 

IX 

B 

2 

ii 

Memnon 

IX 

B 

2 

■  I 

Glaucus  Pontius 

IX 

B 

2 

ii 

Prometheus 

IX 

C 

1 

ii 

Prometheus  Unbound 

IX 

D 

1 

■  i 

Orithyie 

X 

A 

ii 

Europa 

X 

A 

ii 

The  Carians 

X 

A 

ii 

The  Sphinx 

XI 

B 

1 

ii 

Palamede 

XI 

C 

3 

ii 

Philoctetes 

XII 

A 

■  I 

The  Judgment  of  Arms 

XII 

C 

ii 

The  Heliades 

XIII 

A 

1 

ii 

Seven  Against  Thebes 

XIII 

A 

2 

ii 

Agamemnon 

XV 

A 

1 

•  I 

The  Weavers  of  Nets 

XVI 

A 

1 

ii 

Athamas 

XVI 

A 

1 

ii 

The  Thracians 

XVI 

B 

ii 

Semele 

XVII 

B 

1 

ii 

CEdipus 

XVIII 

A 

1 

ii 

Alcmene 

XVIII 

D 

2 

ii 

Telephus 

XIX 

B 

1 

ii 

The  Priestesses 

XIX 

C 

2 

ii 

Polydectes 

XIX 

F 

2 

ii 

The  Waiting-Women 

XX 

A 

2 

■  I 

The  Phoenissae 

XX 

A 

3 

ii 

Iphigenia 

XXIII 

A 

1 

ii 

Hypsipyle 

XXIII 

B 

2 

ii 

The  Danaides 

XXIII 

B 

3 

ii 

Laius 

XXVI 

D 

1 

ii 

The  Aedonians 

XXXI 

A 

1 

ii 

Pentheus 

XXXI 

A 

1 

ii 

The  Bassarides 

XXXI 

A 

1 

ii 

The  Wool-Carders 

XXXI 

A 

1 

ii 

Ajax  Locrian 

XXXI 

B 

3 

n 

The  Nurses 

XXXI 

B 

4 

ii 

The  Eumenides 

XXXIV 

A 

2 

ii 

Niobe 

XXXVI 

A 

1 

■  I 

Troilus 

XXXVI 

A 

1 

ii 

Penthesilea 

XXXVI 

C 

1 1 

The  Death  of  Achilles 

XXXVI 

C 

ii 

Psychostase 

XXXVI 

C 

Aicard 

Smilis 

XXI 

A 

2 

and  XXV 

C 

4 

Aicard 

:  La  Legende  du  Coeur 

XXV 

D 

1 

Alamanni:  Antigone 

XX 

A 

3 

Alfieri: 

The  Conspiracy  of  the  Pazzi 

VIII 

A 

2 

1 1 

Polynice 

XIII 

A 

1 

1 1 

Saul 

XIII 

D 

•  i 

Agis 

XIII 

D 

INDEX  OF  AUTHORS 


159 


Alfieri:  Philippe  II 

Octavia 
Merope 
"        Antigone 
"        Sophonisbe 
"        Rosemonde 
Myrrha 
Timoleon 
Brutus  II 
Marie  Stuart 
"        Don  Garzia 
Orestes 
Amigues:  La  Comtesse  Fredegonde 
Ancey:  L'Ecole  des  veufs 
Andersen:  Le  Compagnon  de  voyage 
Anguillara:  OZdipus 
Annunzio  (d'):  La  Citta  morta 
Aretin  d'j :  Horace 
Armand  iMme):  Les  Fils  de  Jahel 
Arnold:  Le  rime  d'un  autre 
Arnould:  Le  Mari 

La  Belle  aux  cheveux  d'or 
Arnyvelde:  La  Courtisane 
Artois  (d'j:  La  Fermiore 
Athis:  Le  pere  Chasselas 
Attilius:  Klectra 

Auge  de  Lassus:  La  Conspiration  de  gen- 
eral Malet 
Augier:  Diane 

Madame  Caverlet 
Le  Manage  d'Olympe 

Aurcl:  L'lnsociale 


and 


and 


XIV 

B 

3 

XXVI 

B 

2 

XV 

B 

XIX 

B 

1 

XX 

A 

3 

XX 

B 

3 

XXV 

B 

5 

XXVI 

A 

2 

XXX 

A 

1 

XXX 

A 

2 

XXXIII 

A 

2 

XXXIII 

C 

3 

XXXIV 

A 

2 

XXV 

B 

7 

XXVI 

B 

3 

XI 

B 

2 

XVIII 

A 

1 

XXVI 

C 

2 

XXIII 

B 

5 

XX 

B 

2 

XXXIII 

D 

9 

it 

XXV 

C 

1 

XVII 

C 

3 

XXVII 

B 

6 

X  X  1  V 

C 

XXXV 

IV 

A 

1 

VIII 

A 

1 

XXI 

C 

1 

XXXIII 

A 

2 

XXVI] 

\ 

1 

XXVII 

B 

8 

XXXVI 

B 

H 


Balzac:  <  Jeaar  Birotteau 
La  cousine  Bette 

\  autrin 
Balzac    Lee  [llu  lona  perdu 
Barliif-r:  [ndigne 

Marlatier:    La  Mortf 
Hassci :  Lea  ( Irand 
Hatailli-:  1/ I!iu'hantemen1 

Martian  f  lolibri 

La  Vierge  folle 
Lr>  Scandale 
Beauliourg:  L'Image 

I  > i •  ■  1 1  mi  pa    I  lieu 


\l 

B 

XXII 

c 

l 

XX\  1 

D 

1 

XXX 

c 

l 

V 

B 

XXI\ 

B 

8 

XXXIII 

\ 

8 

XIV 

\ 

■1 

XXII 

c 

1 

x\\ 

B 

9 

X  X  \l\ 

It 

2 

XXI\ 

B 

8 

XXIX 

\ 

8 

160 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Beaumont :  The  Two  Noble  Kinsmen 

Valentinian 
Becque:  Les  Corbeaux 
Bell:  Catharine  la  Batarde 
Bergerat:  Vidocq 
"         Myrane 

Flore  de  Frileuse 
Berlioz:  Les  Troyens 

Bernard:  Mon  ami  Teddy 

Bernard  (Tristan):  Le  Danseur  ineonnu 

Bernard  (C.  de):  Gerfaut 

Bernede:  Le  Roi  Soleil 

Bernhardt  (Sarah):  L'Aveu 

Bernstein:  Israel 

La  Griffe 
"  Le  Bercail 

"  Apres  moi 

Le  Voleur 
Berton:  La  Rencontre 

Lena 
Bertrand:  Jack  the  Ripper 
Bhatta  Narayana:  Venisamhara 
Bhavabuti:  Malati  and  Madhava 

Mahaviracharita 
Later  Life  of  Rama 
Bilhaud:  La  Courtisane  de  Corinth 
Biollay:  M.  Bute 

Les  Angles  du  divorce 
Bisson:  Nick  Carter 

La  Femme  X 
Bizet:  L'Arlesienne 
Blavet:  Les  Fils  de  Porthos 
Bodel  (Jean):  Le  Jeu  de  Saint-Nicholas 
Bois  (G.):  Edith 
Bois  (J.j:  La  Furie 
Boissy:  Alceste 
Bannetain:  L'Opium 
Borteau-Lotti:  Soeurette 
Bourget:  Le  Disciple 
La  Barricade 
"  Mensonges 

Le  Tribun 
L'Emigre 
"  Le  Divorce 

Bouvier:  La  Dame  au  Domino  rose 
La  Sang-brule 
Malheur  aux  pauvres 
La  grande  Iza 
Boyer:  Jephtha 


XIV 

c 

XXXIII 

D 

4 

VII 

B 

XXXIII 

D 

1 

III 

c 

XXV 

B 

7 

XXVII 

B 

2 

I 

B 

1 

and  XX 

B 

3 

XXIV 

A 

7 

XXVIII 

A 

2 

XXV 

c 

6 

XXXIII 

c 

2 

XXV 

c 

4 

XIX 

E 

XXII 

A 

3 

XXV 

c 

4 

XXV 

D 

1 

XXXIII 

A 

3 

XXV 

C 

4 

XXVII 

B 

4 

III 

B 

7 

III 

A 

5 

X 

C 

1 

and  XXIV 

A 

3 

X 

C 

2 

XXXV 

III 

B 

5 

XVI 

A 

3 

XXVIII 

E 

III 

C 

XXVII 

A 

1 

XXII 

A 

5 

XXIV 

A 

5 

II 

A 

V 

C 

XXII 

A 

5 

XXI 

A 

1 

XXII 

C 

2 

XXV 

C 

7 

III 

A 

8 

XXIV 

A 

7 

XXVII 

B 

7 

XXVII 

D 

2 

XXVIII 

A 

1 

XXVIII 

D 

1 

XVIII 

C 

XXVI 

C 

1 

XXXII 

C 

3 

XXXIII 

B 

2 

XXIII 

A 

2 

INDEX  OF  AUTHORS 


161 


Brieux:  Maternite 

Les  A  varies 

Simone 

La  Petite  Amie 
Suzette 
Buchanan:  Alceste 
Jephtha 
Buet :  Le  Pretre 

Busnach:  Le  Secret  de  la  Terreuse 
Byl:  L'Age  Critique 
Byron:  The  Two  Foscari 

Sardanapalus 

Marino  Faliero 

The  Deformed  Transformed 

Cain 

Heaven  and  Earth 
"         Werner 

Manfred 


VI 

D 

1 

XVII 

c 

2 

XXVII 

D 

6 

XXVIII 

A 

2 

XXXII 

A 

3 

XXI 

A 

1 

XXIII 

A 

2 

III 

A 

1 

XXXIII 

B 

4 

XXV 

C 

3 

III 

A 

1 

VI 

A 

2 

VI 

C 

1 

IX 

D 

3 

XIII 

A 

1 

XXIV 

A 

1 

XXVII 

C 

XXXIV 

A 

1 

Caillavet  (de):  Papa 

Le  Coeur  a  ses  raisons 
L'Ane  de  Buridan 
La  Montansier 
Cain:  Les  Revokes 
Calderon:  The  Alcalde  of  Zalamea 
Love  After  Death 
Devotion  to  the  Cross 
Louis  Perez  of  Galieia 
Calderon:  Three  Punishments  in  One 
The  Schism  of  England 
The  Constant  Prince 
Secret  Vengeance  for  Secret 

Outrage 
The  Physician  of  His  Honor 
His  Own  Gaoler 
Fortune  and  Misfortune  of  a 

Name 
The  \\<>r-t  is  Nut  Always  Cer- 
tain 

Life  is  a  Dream 
Cantchana  Atcharya:  The  Victory  of 

Arjuna 
CaptU :  Un  Ang»- 

I,  Attentat 

La  Veine 
Carcinus:  (Edi] 
Carre:  La  <  ourt  isane  de  Corinth 

La  Roman  d'ui  i  piral  [on 


XIV 

B 

1 

XIV 

D 

XXIV 

B 

fi 

x\\ 

c 

3 

III 

A 

5 

III 

A 

3 

III 

A 

6 

V 

A 

V 

A 

XIII 

B 

1 

XV 

B 

XX 

A 

4 

X  X  V 

I) 

1 

x  x  v 

D 

1 

XXIX 

B 

6 

XXIX 

B 

r> 

XXXII 

\ 

l 

XIII 

B 

■2 

IX 

C 

-' 

Wil 

C 

2 

XXIV 

A 

7 

xx\ 

A 

••{ 

X\  III 

\ 

1 

III 

B 

:. 

VIII 

A 

■> 

162 


THIRTY-SIX   DRAMATIC  SITUATIONS 


Cervantes:  Don  Quixote 

II 

A 

Caesar:  (Edipus 

XVIII 

A 

1 

Chabrihan  iComtesse  de):  Pierre  Pascal 

XV 

A 

1 

Chancel:  S.  A.  R. 

XX 

B 

3 

Charton:  Devant  l'ennenii 

XXIV 

A 

8 

Chatrian:  La  Nuit  de  Saint-Jean 

XXIV 

A 

7 

Myrtille 

XXVIII 

A 

2 

L'Ami  Fritz 

XXVIII 

A 

2 

Les  Rantzau 

XXIX 

A 

3 

La  Taverne  des  Trabans 

XXIX 

A 

3 

Madame  Therese 

XXIX 

A 

4 

Chateaubriand:  Les  Martyrs 

XXXI 

A 

2 

Rene 

XXXIV 

B 

Chenier  (M.  J.):  Electre 

IV 

A 

1 

(Edipus 

XVIII 

A 

1 

Cicero  (Q.):  Electra 

IV 

A 

1 

Cienfuegos:  Idomenee 

XXIII 

A 

2 

Clairian:  Jack  the  Ripper 

III 

B 

7 

Clairville:  Madame  Margot 

VIII 

A 

2 

Claretie:  Le  Prince  Zilah 

XXVII 

B 

3 

Claudel:  Partage  de  midi 

XV 

A 

\ 

Cliquet:  C'est  la  loi 

XXV 

B 

8 

Coedes:  Le  Crime  de  Maisons-Alfort 

III 

A 

1 

Coolus:  Le  Risque 

XIV 

A 

4 

Une  femme  passa 

XIV 

D 

Coolus:  Les  Passageres 

XXIV 

B 

6 

Antoinette  Sabrier 

XXIV 

C 

3 

Coeur  a  Coeur 

XXV 

C 

6 

Les  Bleus  de  1 'amour 

XXVIII 

C 

2 

"        4x7  —  28 

XXXII 

A 

3 

Coppee:  Madame  de  Maintenon 

XXI 

B 

2 

Les  Jacobites 

XXV 

D 

2 

Severo  Torelli 

XXVII 

D 

1 

Corneille  (P.):  Andromede 

II 

A 

Pompee 

III 

A 

4 

Nicomede 

V 

C 

Cinna 

VIII 

A 

1 

Rodogune 

XIII 

E 

Psyche 

XVII 

B 

1 

(Edipe 

XVIII 

A 

1 

Heraclius 

XVIII 

B 

2 

Polyeucte 

XX 

B 

1 

Othon 

XX 

B 

3 

Pulcherie 

XX 

B 

3 

Tite  et  Berenice 

XX 

B 

3 

Sertorius 

XX 

B 

3 

Theodore 

XX 

D 

Pertharite 

XXI 

D 

2 

Horace 

XXIII 

B 

5 

Attila 

XXIV 

A 

4 

Agesilas 

XXIV 

A 

5 

A 

5 

A 

6 

B 

1 

A 

1 

B 

1 

D 

1 

D 

1 

B 

7 

B 

2 

B 

2 

A 

1 

A 

1 

A 

2 

A 

2 

C 

2 

A 

T 

D 

1 

C 

C 

c 

1 

B 

1 

D 

INDEX  OF  AUTHORS  163 

Corneille  iP.i:  Surena  XXIV 

Don  Sanche  XXIV 
La  Conquete  de  la  Toison 

dor  XXIV 

Medee  XXV 

LeCid  XXIX 

Corneille:  Clitandre  XXXIII 

Corneille  (T.):  Ariane  VI 

and  XXI Y 

Le  Comte  d' Essex  X  XIV 

Le  Festin  de  Pierre  XXXI 

Coypel:  Alceste  XXI 

Crebillon:  Electre  IV 

Atree  et  Thyeste  XIII 

Idomenee  XXIII 

Rhadamiste  et  Zenobie  XXV 

Semiramis  XXVI 

Cremieux:  La  Charbonniere  XXI 

Crichna  Cavi:  The  Death  of  Cansa  XIII 

Croisset :  Le  Circuit  XXIV 

Cromelynck:  Le  Sculpteur  de  Masques  XXVI 

Curel  (de):  Les  Fossiles  XIV 

La  Fille  sauvage  XXXVI 

D 

Dalayrac:  Raoul  de  Crequi 
Dallif-re:   La  Mission  de  Jeanne  d'Arc 
Danceny:  L'Or 
Darlay:  La  Petite  Caporale 

Les  Aventures  de  Gavroche 
Dartois:  Un  Patriote 
Daudet:  Tartarin 

La  Lutte  pour  la  vie 

Port-Tarascon 

L'Evangeli 

Sapho 

L'Arlesienne 
L'Obstacle 
Numa  Rounifstaii 
La  Pel  it''  Paro 

Dorourcfllf:    Le  Roi  sans  rri\aurn<- 

L'Aa  de  trefle 

Lee  <,in<i  doigti  de  Birouk 
Delahayt-     I. a  I  lecll 
Delacour:  La  ( Iriminelle 
Delavigne:  Une  famille  au  temp   de  Lutber 
Delibes:  Lai 
Delpit :   Lea  Maucroix 

Mile.  '!<•  Bre  lier 

I )<ninl(lcr:  La  Route  d'emeraude 


\\\ 

E 

VIII 

B 

1 

III 

A 

1 

l\ 

D 

4 

\  \  X  \ 

XXIII 

B 

4 

\  I 

B 

XV 

B 

XVII 

C 

4 

XX 

B 

1 

XXII 

A 

:t 

XXII 

A 

6 

XXIV 

\ 

B 

\x\ 

B 

•  i 

\\\ 

c 

"i 

\  111 

A 

l 

XXVII 

I> 

:t 

\\\ 

C 

1 

III 

B 

i 

XXXIII 

B 

•  t 

XIII 

A 

I 

\XI\ 

\ 

i 

\l\ 

\ 

1 

XXIX 

B 

•  > 

\  X  1 1 

\ 

i. 

1(54 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Dennery:  Martyre 

Le  petit  Jacques 
Descaves:  L'Attentat 
Desnard:  La  Degringolade 
Devore:  Page  blanche 

La  Conscience  de  l'enfant 
Diaz:  Benvenuto 
Dickens:  Great  Expectations 
Diogenes:  OEdipus 
Dolce:  Marianne 
Donnay:  L'Autre  Danger 
Le  Torrent 
Paraitre 
Dor  at:  Alceste 
Dornay:  Gavroche 

Fiacre  No.  13 
Les  Foulards-rouges 
Dostoievsky:  Crime  and  Punishment 
Doyle:  Sherlock  Holmes 
Ducange:  Trente  ans  ou  la  vie  d'un  joueur 
Ducis:  Gildipe 
Abufar 
Dumas  pere:  Monte-Cristo 

"  Don  Juan 

Dumas  fils:  L'Etrangere 

and 
Le  Fils  naturel 
Le  Pere  prodigue 
Le  Divorce  de  Sarah  Moore 
La  Question  d'argent 
Francillon 

La  Princesse  Georges 
Diane  de  Lys 
La  Femme  de  Claude 
L'Affaire  Clemenceau 
"  Denise 

La  Dame  aux  camelias 
"  M.  Alphonse 

La  Princesse  de  Bagdad 
Dumay:  La  petite  Milliardaire 
Dumur:  Le  Maquignon 

Rembrandt 
Duval:  L'Article  301 


XXI 

c 

1 

XXI 

D 

1 

XXIV 

A 

7 

XXXIII 

D 

6 

XXV 

c 

1 

XXVI 

c 

1 

XXIV 

B 

7 

XXI 

A 

2 

XVIII 

A 

1 

XXXII 

A 

1 

XIV 

B 

4 

XXV 

c 

1 

XXV 

D 

1 

XXI 

A 

1 

XXXIII 

B 

2 

XXXIII 

B 

2 

XXXV 

XXXIV 

A 

3 

III 

C 

XXII 

C 

2 

XVIII 

A 

1 

XVIII 

B 

1 

III 

B 

4 

V 

B 

III 

B 

7 

XXV 

B 

3 

XII 

B 

XIV 

B 

1 

XXI 

A 

2 

XXIV 

A 

7 

XXV 

B 

2 

XXV 

B 

3 

XXV 

C 

:] 

XXV 

C 

7 

XXV 

D 

1 

XXVII 

B 

3 

XXVII 

B 

« 

XXVII 

B 

7 

XXXII 

A 

1 

XXIV 

A 

7 

III 

A 

1 

VII 

D 

XXIV 

C 

E 


Edmond  (Cf.  La  Bucheronne 
Eekhoud:  Kermesse  rouge 
Elzear:  Jack  Tempete 
Emile-Michelet:  Le  Pererin  d'amour 


XXIV 

A 

8 

III 

A 

8 

XXIV 

A 

8 

XXVII 

B 

7 

INDEX  OF  AUTHORS 


165 


Erckmann:  La  Nuit  de  Saint-Jean 

XXIV 

A 

7 

L'Ami  Fritz 

XXVIII 

A 

2 

Myrtille 

XXVIII 

A 

o 

— 

Les  Rantzau 

XXIX 

A 

3 

La  Taverne  des  Trabans 

XXIX 

A 

3 

Madame  Therese 

XXIX 

A 

4 

Ernault: 

La  Croisade  des  enfanteles 

francs 

VII 

B 

" 

La  tentation  de  vivre 

XVI 

A 

2 

Euripides 

:  The  Heraclida? 

I 

A 

1 

Euripides 

:  The  Suppliants 

1 

A 

2 

** 

Danae 

I 

B 

2 

ii 

The  Cretans 

I 

B 

2 

ii 

Augeus 

I 

B 

2 

ii 

Alope 

1 

B 

2 

•  t 

Telephus 

1 

B 

3 

ii 

Andromeda 

II 

A 

ii 

Antiope 

II 

B 

1 

14 

Dictya 

II 

B 

2 

11 

Hecuba 

III 

A 

2 

11 

Ixion 

III 

A 

5 

11 

Phrixus 

III 

B 

4 

11 

Elect  ra 

l\ 

A 

1 

1  1 

Archelaus 

VI 

C 

1 

11 

Peleus 

VII 

C 

1 

•  1 

Theseus 

IX 

D 

1 

11 

(Enomaua 

IX 

D 

2 

11 

Rhesus 

1\ 

and  XX XVI 

D 
C 

1 

11 

Helen 

X 

C 

1 

11 

Polyidus 

\1 

A 

11 

Women  of  Scyroa 

XI 

c 

2 

11 

Palamede 

XI 

(• 

S 

and  XXXIII 

(• 

•  > 

•1    • 

Philoctetee 

Ml 

A 

11 

The  Phoeni 

XIII 

\ 

l 

•  t 

Phoenix 

\1V 

B 

8 

11 

Heracles  Mainomenoe 

X\  1 

\ 

1 

■  1 

I  no 

\\  1 

\ 

1 

11 

Phaeton 

XVII 

\ 

1 

11 

The  Peliadee 

XVII 

and  XIX 

C 
E 

•1 

11 

Ion 

XIX 

l< 

1 

11 

( Iresphonfc 

XIX 

B 

1 

l  1 

Aeg< 

XIX 

B 

•  i 

11 

Alexander 

XIX 

c 

1 

It 

[phigenia  In  Ta 

XIX 

C 

2 

t  • 

Protesilaa 

XX 

\ 

9 

1  t 

Antigone 

XX 

\ 

8 

1  • 

Air. 

\l 

\ 

l 

•  1 

Andromache 

XXI 

I) 

l 

166 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Euripides: 

Iphigenia  in  Aulis 

XXIII 

A 

1 

« • 

Erechtheus 

XXIII 

A 

1 

•  i 

Melanippe 

XXIII 

B 

1 

" 

Hypsipyle 

XXIII 

B 

2 

Euripedes 

:  Medea 

XXV 

A 

1 

ii 

Andromache 

XXV 

B 

1 

ii 

Alcmeon 

XXV 

B 

4 

ii 

Hippolyte 

XXVI 

B 

2 

ii 

Eole 

XXVI 

C 

1 

ii 

Chrysippus 

XXVI 

D 

1 

ii 

The  Cretans 

XXVI 

E 

ii 

The  Bacchantes 

XXXI 

A 

1 

•  i 

Bellerophon 

XXXI 

B 

3 

ii 

Phaeton 

XXXI 

B 

5 

ii 

Orestes 

XXXIV 

A 

2 

ii 

Troades  (The) 

XXXVI 

A 

1 

Ezekiel:  The  Exodus  of  the  Hebrews 

XXXI 

A 

2 

Fabre:  La  Maison  d'argile 
Cesar  Birotteau 
La  Vie  publique 


and 


Fall:  La  Divorcee 
Fauchois:  Beethoven 
Rivoli 
L'Exode 
Ferrier:  La  Cornette 
Feuillet:  Chamillac 
Fevre:  En  Detresse 
Feydeau:  Le  Circuit 
Flaubert:  Salammbo 

Saint  Julien  l'hospitallier 
"  Herodias 

The  Temptation  of  St.  Anthony 
Madame  Bovary 
Fleischmann:  La  Fille  a  Guillotin 
Flers  (dej:  Papa 

La  Coeur  a  ses  raisons 
L'Ane  de  Buridan 
La  Montansier 
Fletcher:  The  Two  Noble  Kinsmen 

Valentinian 
Fonson:  Le  Mariage  de  Mile.  Beulemans 
Ford:  Tis  Pity  She's  a  Whore 
"      The  Broken  Heart 
"      Perkin  Warbeck 
"       Love's  Sacrifice 
Forest:  La  petite  milliardaire 


XIII 

A 

3 

XX 

A 

4 

XXVIII 

A 

1 

XXX 

c 

1 

XXXII 

A 

2 

VII 

D 

XXV 

c 

7 

XXIX 

A 

4 

XXI 

D 

1 

XXVII 

B 

5 

VII 

c 

2 

XXIV 

c 

VIII 

B 

1 

XIX 

.  E 

XXII 

B 

XXII 

B 

XXV 

C 

7 

XXIII 

A 

3 

XIV 

B 

1 

XIV 

D 

XXIV 

B 

6 

XXV 

C 

3 

XIV 

C 

XXXIII 

D 

4 

XXIV 

A 

8 

XXVI 

C 

2 

XXIX 

A 

1 

XXX 

B 

XXXII 

A 

3 

XXXIV 

A 

7 

INDEX  OF  AUTHORS 


167 


Forest:  L'Homme  a  deux  tetes 
Fournier:  Le  Roman  d'une  conspiration 
Fraisse:  Les  Champairol 

Jean  Cevenol 
France:  Le  Mannequin  d'osier 

Les  Noces  corinthiennes 

Crainquebille 
Franck:  Cceur  maternel 
Fread  Amy:  L'Impa 
Frondaie:  Montmartre 


XXXIII 

c 

2 

VIII 

A 

2 

I 

B 

3 

XXXIII 

B 

3 

XXV 

c 

4 

XXIX 

A 

4 

XXXIII 

A 

3 

XXXIII 

A 

:s 

XV 

A 

1 

XXVIII 

E 

G 


Ganderax:  Miss  Fanfare 
Garaud:  Le  Frere  d'armes 
Gautier:  Mademoiselle  de  Maupin 
Une  nuit  de  Cleopatre 

(iautier  ■  .1  udith  i :   I. a  Marchande  re 

sourires 
Gavault:  La  petite  Chocolatiere 
Geffroy:  L'Apprentie 
(ieraldy:  L'Eclabaussure 
Gide:  Saul 

Gilkin :  Etudiants  russe 
Giraldi:  Orbecche 

ck:  Alceste 
Godard:  Jocelyn 

haul.' 
Goethe:  Faust 

Clavijo 

( ioetz  de  Berlichingen 

Egmonl 

The  Natural  1  laughter 

The  Second  Faui  I 

Pandora 

[phigenia  in  Ta 

Stella 

\\  fit  her 
Goldoni    I  )on  Juan 
Gombaud    Le    Dai 

( ioi  court    E.  and  J.  de      Renee  Maupt 

<  ierminie  l  m 

teu\ 

i  ourt    I  Les  Frere    Zemgann 

(  oi  i  ourl    E.  de      La  Fille  Eliia 
doreei      i      La  Petite  I  aporale 

'  oui  •■■!    I  e  Trlbul  d(  7  mora 
pho 


XXV 

B 

7 

XXI 

D 

1 

XVIII 

XXII 

A 

5 

and  XXIV 

B 

4 

XXIX 

B 

7 

XXVIII 

A 

•> 

XX 

C 

X  X  X 1 Y 

A 

3 

XVI 

B 

\\\  11 

D 

1 

IV 

D 

XXI 

A 

1 

XXII 

\ 

1 

X  X  1 V 

A 

:{ 

1 

c 

1 

and  VI 

D 

l 

III 

A 

8 

Y 

C 

Y 

(' 

and  VIII 

B 

1 

VII 

A 

IX 

l» 

:\ 

X\  II 

C 

l 

Xl\ 

(' 

■  1 

\\\ 

1'. 

ti 

XXXIY 

B 

\ 

B 

XXIII 

B 

:: 

•ru,         XVII 

c 

^ 

■ 

XXII 

i 

1 

(.          \l 

l'. 

1 

\\  1 

\ 

•  • 

IX 

D 

•i 

\\l\ 

\ 

8 

.Mil 

h 

1 

l(i> 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Gozzi:  Turandot 

XI 

c 

1 

Zobeide 

XV 

B 

Loves  of  the  Three  Oranges 

XVIII 

D 

1 

The  Blue  Monster 

XIX 

G 

2 

Zeim 

XXVIII 

B 

The  Serpent  Woman 

XXXIII 

A 

1 

Le  Corbeau 

XXXIII 

A 

3 

Le  Roi  Cerf 

XVIII 

D 

1 

Grabbe:  Don  Juan 

V 

B 

Gramont  (de):  Rolande 

XXII 

C 

1 

Lucienne 

XXV 

A 

1 

Grangeneuve:  Amhra 

III 

A 

6 

Gravier:  Jarnac 

XXIII 

B 

6 

Gregory  Nazianzen  (Saint):  Christ 

XX 

A 

2 

Suffering 

and  XXXI 

A 

1 

Grenet-Dancourt:  La  Banque  de  l'Univers      XVI 

A 

2 

Gretry:  Richard  Cceur-de-Lion 

X 
and  XXXV 

D 

1 

Grillet:  Les  Pierrots 

XXXIII 

B 

2 

Guiches:  Les  Quarts  d'heure 

XXV 

C 

4 

and  XXVII 

A 

1 

Guillard:  Electra 

IV 

A 

1 

Guinon:  Decadense 

XXV 

C 

1 

Guiraud:  Le  Poussin 

XXVIII 

D 

2 

Guitry  (S.):  Petite  Hollande 

XXIV 

B 

6 

Guyot  (Yves):  Un  drole 

XXV 

C 

1 

Gyp:  Le  Friquet 

H 
Halevy:  L'Abbe  Constantin 

XXIV 

B 

6 

XXVIII 

A 

2 

Harshadeva  (Sri):  The  Necklace 

XXIV 

D 

3 

Hardy:  Alceste 

XXI 

A 

1 

Hauptmann:  The  Weavers  of  Silesia 

VIII 

B 

2 

Heine:  Almanzor 

XXIX 

A 

4 

Hennique:  Amour 

XV 

A 

1 

"           Jarnac 

XXIII 

B 

6 

Hermant:  Trains  de  luxe 

XXIV 

B 

6 

Les  Jacobines 

XXV 

C 

4 

Herold :  Le  Cor  fleuri 

XXIV 

B 

3 

Hervieu:  Le  Reveil 

XXI 

C 

2 

La  Loi  de  l'homme 

XXI 

C 

3 

Hervieu:  Le  Course  du  flambeau 

XXI 

E 

Le  Dedale 

XXIV 

A 

12 

and  XXV 

C 

2 

Les  Tenailles 

XXV 

C 

1 

Connais-toi 

XXV 

C 

3 

L'Enigme 

XXV 

D 

1 

Hirsch:  En  greve 

XXIV 

A 

7 

Hornung:  Raffles 

V 

A 

Hroswitha:  Abraham 

XX 

D 

INDEX  OF  AUTHORS  169 


Hugo:  Mangeront-ils? 

Lucrece  Borgia 

XIX  B  1,  XIX  D,  XXIII  B  1 
Les  Jumeaux 

Toilers  of  the  Sea 

Ruy-Blas 

Hernani 

XX  A  1 
Torquemada 


La  Esmeralda 

Marie  Tudor 

Marion  Delorme 

Le  Roi  s'amuse 
Les  Burgraves 
Ninety-Three 
Angelo 
Cromwell 


Ibsen: 


I 

A 

3 

and  XXIV 

A 

3 

VI 

C 

3 

and  XXXII 

A 

2 

VII 

A 

and  XXXV 

IX 

D 

2 

XXIV 

A 

7 

XIX 

and  XXIV 

A 

3 

XIX 

and  XXIII 

A 

3 

and  XXIII 

A 

3 

XIX 

and  XXIV 

A 

11 

XIX 

and  XXIV 

B 

3 

XIX 

and  XX VI I 

B 

4 

XIX 

A 

4 

XIX 

F 

1 

XXIII 

A 

3 

X  X  V 

C 

1 

XXX 

A 

3 

lores : 


An  Enemy  of  the  People 

V 

c 

Hedda  Gabler 

XVI 

A 

:} 

The  Master  Builder 

XVII 

A 

l 

The  Wild  Dud: 

XV11 

C 

1 

Ghosts 

win 

B 

3 

Roemersholm 

X  X  \  1  V 

B 

'1'Im'  Lady  Krom  the 

Sea 

X  \  1  V 

B 

8 

I ..     Bouchers 

III 

\ 

8 

.larry:  Uhu-roi 

XXX 

c 

Jeoffrin :  La  Montan 

\x\ 

c 

8 

Jonathan:  Simon  I'enfanl  trouve 

III 

\ 

t. 

Pierre  Vaux 

\\1 

1) 

1 

Joncierea  (de)    !/•■  ( Ihevalier  Jean 

XXXII 

(' 

I 

Josz:  Le  klaquignon 

III 

\ 

1 

Rembrandt 

\  II 

1) 

Jullien:  L<-  Maitre 

XIII 

1! 

1 

La  Mer 

XIII 

1) 

La  Serenade 

XXV 

(• 

a 

L'Echeance 

\  w 

(' 

B 

Vielle  In  itoira 

XXVI] 

\ 

•' 

170 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Kalidasa:  Sakuntala 


K 


Agnimitra  and  Malavika 
The  Hero  and  the  Nymph 

Kampf:  Le  Grand  Soir 

Kouan-han-king:  The  Resentment  of 
Teoun-go 


Labiche:  L'Affaire  de  la  rue  de  Lourcine 
Lagrange-Chancel:  Alceste 
Lamothe:  GEdipus 
Laporte:  L'Homme  de  proie 
Laumann:  Le  Coeur  revelateur 
Lavedan:  Le  Duel 

Varennes 

Les  Quarts  d'heure 

Le  Marquis  de  Priola 
Sire 
Leautaud:  Le  Petit  Ami 
Leblanc:  Arsene  Lupin 
Lefebvre:  La  Femme  de  demain 
Lefevre:  L'Homme  de  proie 
Lemaire:  Le  Mariage  d'Andre 
Lemaitre:  La  Massiere 

Le  Depute  Leveau 
"  Revoltee 

Lemierre:  Idomencee 

Hypermnestre 
Lemonnier:  Le  Droit  au  bonheur 

Le  Possede 
Leneru  (Mme.):  Les  Affranchis 
Leon :  La  Veuve  joyeu:  e 

"       La  Divorcee 
Lenotre:  Varennes 
I.eroux:  Les  Lys 
Lessing:  Damon 

Emilia  Galotti 
Miss  Sara  Sampson 
Linant:  Conte  de  Noel 
Livet:  Nick  Carter 
Longepierre:  Electre 
Lope  de  Vega:  The  Labors  of  Jacob 

El  mejor  alcalde  el  Rc-y 
Fontovejune 
Discovery  of  the  New 

World 
The  Abduction  of  Helen 


XVI 

c 

and  XXXV 

XXIV 

D 

2 

XXXV 

VIII 

A 

1 

III 

B 

3 

XVI 

A 

3 

XXI 

A 

1 

XVIII 

A 

1 

X 

D 

2 

XXXIV 

A 

3 

XIII 

A 

1 

XXIV 

B 

3 

XXV 

C 

4 

and  XXVII 

A 

1 

XXVII 

A 

1 

XXVII 

B 

7 

XXVI 

A 

1 

V 

A 

XXV 

B 

9 

X 

D 

2 

XVIII 

B 

1 

XIV 

B 

1 

XXV 

B 

3 

XXV 

C 

4 

XXIII 

A 

2 

XXIII 

B 

3 

XXI 

C 

2 

XXII 

A 

5 

XXV 

B 

8 

XXVIII 

A 

2 

XXXII 

A 

2 

XX IV 

B 

3 

XXVIII 

D 

1 

XIV 

D 

XXIV 

C 

XXV 

B 

7 

XIII 

F 

III 

C 

IV 

A 

1 

XIII 

A 

1 

II 

A 

3 

VIII 

B 

2 

IX 

D 

1 

X 

B 

INDEX  OF  AUTHORS 


171 


Lope  de  Vega:  Aimer  Sans  savoir  qui 

Nina  de  Plata 

The  Mill 

The  Gardener's  Dog 
Lorde  (de):  L'Idiot 

Terre  d'epouvante 
Loti:  Ramuntcho 
Louys:  Aphrodite 
Loyson:  L'Apotre 
Lucas:   Alcesie 
Lyon:   Madame  l'Amirale 


and 


XIX 

D 

XXXIII 

B 

1 

XXIV 

A 

5 

XXIV 

A 

5 

XXIV 

B 

5 

III 

A 

4 

VI 

A 

4 

XXVIII 

A 

1 

XXII 

A 

3 

XXVII 

D 

2 

XXI 

A 

I 

XXVI 

B 

1 

M 


Maeterlinck:  The  Princess  Maleine 
The  Blind 
The  Blue  Bird 
Pelleas  and  Melisande 
Monna  Vanna 
The  Seven  Princesses 
The  Intruder 

Maffei:  Merope 

Mairet:  Sophonisbe 

Maldagne  Mine   :  La  Boscotte 

Manfredi:  Semiramis 

Manzoni:  Adelghis 

Manzoni:  The  Count  of  Carmagnola 


and 


Manzotti:  Sieba 

Margueritte:  Pierrot  assassin  de  Ba  femme 

Marim-ui:  Poupeee  electriques 

Marot:  La  Casquette  au  pere  Bugeaud 

( 'assc-museau 

Lee  Aventuree  de  ( lavroche 
Marras:  La  Famille  d'Armelles 
Mars:  Mme.  l'Amirale 

MarthoM:    L'Ogre 
Martclli:   'I'ullia 

Mary    ).      Roger-la-honte 


I.''  Regimenl 
La  !'.-•"■  feroce 
Massf:  I'm-  nuit  de  Cleop&tre 

e  1 1     E  clarmonde 

.\Lr 

\l a      ic    l  a    •  crel  de  < .ill- 
M.i  lingei     Tli''  Virgin  Martyr 
Tin-  Fatal  i'" 


ami 


and 


VII 

A 

VII 

D 

IX 

D 

3 

XIV 

A 

3 

XXXII 

A 

1 

XXXVI 

B 

X  X  X  V 1 

B 

XIX 

B 

1 

XX 

B 

:i 

XXX11I 

D 

■■i 

XXVI 

A 

1 

Y 

(' 

\ 

C 

VI 

c 

1 

XXVIII 

B 

X  X  X  1  \ 

A 

I 

XXXII] 

B 

:; 

111 

A 

8 

XXVI] 

1) 

.') 

X  X  X  V 

XXV 

I) 

•  > 

XXV] 

B 

1 

X  X  X 1 1 1 

1) 

8 

X  X  X 

c 

•> 

III 

l'. 

i 

XXXIII 

D 

.". 

XXVII 

I) 

:i 

XXX 

c 

l 

xxu 

\ 

5 

WIV 

B 

A 

XVII 

B 

XXII 

\ 

8 

\X\  II 

1! 

•> 

XX 

D 

X  x\ 

< 

:. 

172 


THIRTY-SIX  DRAMAT  C  SITUATIONS 


Massinger:  The  Bondman 
The  Portrait 

Mat  hey:  Zoe  Chien-Chien 

Maujan:  Jacques  Bonhomme 

Maupassant:  Pierre  et  Jean 

Mazel:  Les  Amazones 

Meilhac:  La  Veuve  joyeuse 

Melitus:  CEdipus 

Mendes:  Glatigny 

Les  Meres  ennemies 
La  Reine  Fiammette 

Mercereau:  Mon  frere 
Merimee:  Colomba 
Messager:  Francois  les  bas-bleus 
Metastasio:  Cato 

Alexander 
The  Desert  Isle 
Cyrus 

Antigone 

Demophon 

Olympiade 

Regulus 

Themistocles 

Dido 

Achilles  in  Scyros 

Hypsip  le 

Hylermnestre 

Demetrius 

Semiramide  riconosciuta 

Adrien 

Zenobia 

Nitetis 

The  Chinese  Hero 

The  Shepherd  King 
"  Siroes 

Artaxerxes 

^tius 
Metenier:  La  Casserole 
Michaud  d'Humiac:  Le  Cceur  de  Se-hor 
Mikhael:  Le  Cor  fleuri 
Milliet:  Le  Roi  de  l'argent 
Milloecker:  L'Etudiant  pauvre 
Miral:  Lydie 

Mirbeau:  Les  Affaires  sont  les. affaires 
Moses  (?):  Job 
Moliere:  Don  Juan 
Montepin:  La  Policiere 


XXXII 

XXXII 

IV 

VIII 

XIV 

XXIX 

XXVIII 

XVIII 

XXIV 

XXV 

XXIX 

and  XXXIII 
XIII 
III 

XXIV 
V 

and  XXIX 
V 

XII 
XIII 

and  XIX 
XIV 
XIX 
XIX 
XX 
XX 
XX 
XX 
XXIII 
XXIII 
XXIV 
XXIV 

and  XXXII 
XXIV 
XXV 
XXVIII 
XXVIII 
XXVIII 
XXXIII 
XXXIII 
XXXIII 

III 

XXVII 

XXIV 

XXXIII 

XXXIII 

XXIX 

XXVII 

XXX 

V 

XXVII 


A 

1 

C 

1 

A 

2 

B 

1 

A 

1 

A 

4 

A 

2 

A 

1 

A 

9 

B 

2 

B 

3 

A 

3 

A 

2 

A 

1 

B 

6 

C 

A 

2 

C 

B 

C 

B 

3 

B 

1 

A 

1 

B 

1 

A 

1 

A 

2 

B 

3 

B 

3 

B 

2 

B 

3 

A 

5 

B 

8 

B 

1 

C 

C 

2 

A 

1 

A 

1 

C 

1 

B 

2 

D 

2 

D 

4 

A 

7 

D 

6 

B 

3 

B 

3 

A 

1 

A 

4 

A 

3 

B 

1 

B 

C 

INDEX  OF  AUTHORS 


173 


Moreau:  Madame  Margot 
Le  Drapeau 
Gerfaut 
"         Un  divorce 
Morel:  Terre  d'epouvante 
La  Fille  du  depute 
La  Pieuvre 
Mortier:  Marius  vaincu 
Mourey:  L'Automne 
Lawn-tennis 
Mussato:  Ezzelino 
Musset:  Fantasio 

Lorenzaccio 

On  ne  badine  pas  avec  l'amour 
Andre  del  Sarte 
Mustiere:  Rosse,  tant  et  plus 


VIII 

A 

2 

XXIV 

A 

8 

XXV 

c 

6 

XXXII 

A 

1 

VI 

A 

4 

XXVII 

A 

3 

XXXIII 

C 

1 

XXX 

A 

3 

VIII 

B 

2 

XXVI 

D 

2 

XXX 

C 

1 

II 

B 

2 

VIII 

A 

1 

XVII 

C 

2 

XXV 

c 

4 

VIII 

A 

2 

N 


Nepoty:  L'Oreille  fendue 
Nicomaque:  (Edipus 
Nigond:  1812 
No:  Les  Carbonari 
Nus:  Le  Mari 


XXVII 

XVIII 

XIV 

XXIX 

XXV 


A 

3 

A 

1 

A 

1 

A 

4 

C 

1 

o 


Ohnet:  Serge  Panine 
Dernier  amour 
La  Comtease  Sarah 
La  Grande  Marniere 

Ollognier  'Mmo.   ;  Le  Saifi 


XXV 

B 

2 

XXV 

B 

6 

XXV 

C 

3 

XXIX 

A 

2 

X  X  I  V 

A 

8 

Pailleron :   La  Souris 

XIV 

A 

4 

Paladilhe:  Patrie 

XXV 

I) 

•  > 

Diana 

X  X  XIII 

I) 

8 

Parodi:  L'Inflexible 

XXVII 

I) 

•  > 

Paton    Le  Divorce  de  Sarah  Moore 

XXI 

A 

■  > 

Perrault:  Bluebeard 

II 

A 

Lf  Pel  11  Pouct  : 

\  1 

l> 

•  > 

"         Peau  d'&ne 

XXVI 

A 

"{ 

Peter:  L'Or 

III 

\ 

1 

Phrynichus:  The  I  tanaide 

Will 

B 

:t 

Picard    La  Fugitive 

\XI 

c 

■  > 

Planquette:  Surcouf 

XXIV 

A 

7 

Poe    The  Purloined  Letter 

XI 

\ 

•'     The  Gold  Bug 

\l 

B 

1 

Berenice 

\  X  \  1  \ 

1! 

174 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Follies  ido>:  L'Enfant  du  Temple 

XX 

A 

4 

Polti:  Compere  le  Renard 

V 

A 

Les  Cuirs  de  boeuf 

XXVI 

A 

1 

Porto-Riehe:  Le  Vieil  Homme 

XIV 

B 

2 

Les  Malefilatre 

XXV 

C 

7 

Pouvillon:  Le  Roi  de  Rome 

VII 

B 

Pradon:   Electre 

IV 

A 

1 

Regulus 

XX 

A 

1 

Prevost:  Manon  Leseaut 

XXVII 

B 

6 

Prevost  (Jean):  CEdipus 

XVIII 

A 

1 

Prevost  (M):  Pierre  et  There  e 

XXVII 

A 

2 

La  plus  faibL 

XXVIII 

A 

2 

Q 


Quinault:  Alceste 


XXI 


A     1 


R 


Rahier:  Et  ma  soeur? 

XXViII 

B 

Racine:  Esther 

I 

C 

1 

Alexandre 

V 

C 

Les  Frere    ennemis 

X  II 

A 

2 

Britannicus 

XIV 

A 

1 

Mithridate 

XIV 

B 

1 

Ii  higenie  en  Tauride  (projected) 

XIX 

C 

2 

Berenice 

XX 

B 

3 

Alceste  (projected) 

XXI 

A 

1 

Andromaque 

XXI 

D 

2 

;  nd  XXV 

B 

1 

Iphigenie  a  Aulis 

XXIII 

A 

1 

"         Bajazet 

XXIV 

B 

4 

Phedre 

XXVI 

B 

1 

"  m      Athalie 

XXXI 

A 

2 

Rachilde:  La  Voix  du  sang 

XIX 

G 

3 

Madame  la  Mort 

XXIV 

B 

8 

Rajasekhara:  The  Sons  of  Pandou 

III 

A 

5 

The  Statue 

XXIV 

D 

3 

Raymond:  Les  Menages  de  Paris 

XXV 

B 

3 

Regnier  (de):  La  Gardienn-? 

XXXV 

Renauld:  Le  Crime  d'un  autre 

XXXIII 

D 

2 

Reyer:  Sigurd 

XXV 

C 

3 

Richard:  Boislaurier 

11 

A 

and  XIV 

A 

1 

Le  Roman  d'Elise 

XXVIII 

D 

2 

Richebourg:  La  petite  Mionne 

XIX 

A 

3 

Richepin:  Nana-Sahib 

V 

C 

L'Ancien 

XXI 

A 

2 

Le  Chien  de  garde 

XXI 

D 

1 

La  Glu 

XXII 

A 

5 

INDEX  OF  AUTHORS 


175 


Richepin:  La  Route  d'emeraude 
Richepin  fils:  La  Marjolaine 
Richter  (J.  P.):  Titan 
Riupeiroux:  Hypermnestre 
Rivoire:  Le  b  n  roi  Dagobcrt 

Mon  ami  Teddy 
Rochard:  Le  peche  de  Marthe 

La  Bete  feroce 
Rochefort:  Electre 
Rod:  Le  Reformateur 
Roinard  Les  Miroirs 
Rolland:  Le  14  juillet 
Romains:  L'Armee  dans  la  \'ille 
Rostand:  L'Aiglon 

Chantecler 
"         Cyrano 
Roudradeva:  The  Story  of  Yayati 
Roupa:  The  Loves  of  Krishna 
Rouvre:  ide)  Le  Mariage  d  Andre 
Rozier:  Le  Divorce  de  Sarah  Moore 
Rucellai:  Rosemonde 
Ryner:  Vive  le  roi! 
Rzewuski:  Count  Witold 


XXII 

XX1\ 

XVIII 

XXIII 

XVII I 

XXIV 

XXVIII 

XXX 

IV 

VI 

XXV 
VIII 

\  111 

VII 
VIII 

XXI 

XXIX 

XXIV 

win 

XXI 
IV 
XX 
XXXIV 


A 

6 

A 

6 

D 

2 

B 

3 

D 

2 

A 

7 

B 

C 

1 

A 

1 

C 

1 

D 

1 

B 

2 

B 

2 

B 

A 

2 

C 

2 

A 

2 

D 

1 

B 

1 

A 

2 

C 

A 

4 

B 

2 

Sadwfll:   Don  Juan  V 

Sainte-Fobt ;  Alceste  \  \  I 

Sainte-Marthe:  (EdipUB  XXIII 

SaimVGeorges  de  Boubilier:  Le  Roi  sans 

couronne  Y 

Saint-P.  1  Roux:  La  Dame  a  la  faulx                  XX  1\ 

Saint-Saens:  Samson  ft   Dalila  X\ 

inio  \\1\ 

Henri  VIII  \\\ 

ProBerpine  \\\ 

L'Ancitre  XXIX 

Salieri:  The  Danaii  Will 

Samain :  Polypht  \  X  I  \ 

Samara  Dikchila:    The  \  ictory  of  I'rad- 

youmna  XXIX 

on      Marie  Stuart  \  \  I  \ 

Le  Crime  de  -ban  Morel  XXIX 

Sai  d:  I-'-  Dimon  du  f(  yet  \  \l\ 

Sardou:  Thermidor  \  ill 

I, a  To. a  \\| 

Cleopatra  wii 

La  Soreii  re  \\i\ 

Odette  XXVII 

Georgette  .  \  ,11 

Le  Crocodile  N  XV11 


B 

A 

l 

A 

1 

C 

B 

9 

A 

•> 

C 

B 

5 

B 

7 

B 

(i 

B 

8 

A 

1 

\ 

•) 

B 

•> 

B 

7 

\ 

I 

\ 

1 

l) 

'J 

\ 

1 

B 

1 

\ 

1 

\ 

1 

B 

176 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Sardou :   Fedora 

XXIX 

B 

5 

Theodora 

XXXIII 

A 

2 

L'Affaire  des  Poissons 

XXXIII 

B 

2 

Sardou  (Andre):  L'Etau 

XVI 

D 

Schiller:  William  Tell 

III 

B 

6 

and  VI  I 

B 

2 

Schiller:  The  Brigands 

V 

A 

and  XXXIII 

C 

3 

"         Fiesco 

VIII 

A 

1 

Don  Carlos 

XIV 

B 

3 

and  XXVI 

B 

2 

The  Bride  of  Messina 

XVIII 

A 

2 

Marie  Stuart 

XXIV 

B 

2 

Wallenstein 

XXX 

A 

3 

Love  and  Intrigue 

XXXII 

B 

3 

Second:  La  Vicomtesse  Alice 

V 

D 

Sedaine:  Richard  Cceur-de-Lion 

X 
and  XXXV 

D 

1 

See:  L'Indiscret 

XVII 

A 

1 

Seneca:  The  Phcenissse 

XIII 

A 

1 

"        Thyestes 

XIII 

A 

2 

"         Octavia 

XV 

B 

Hercules  Furens 

XVI 

A 

1 

(Edipus 

XVIII 

A 

1 

"         Medea 

XXV 

A 

1 

Hercules  on  (Eta 

XXV 

B 

1 

"         Hippolyte 

XXVI 

B 

1 

i  he  Trojan  Women 

XXXVI 

A 

1 

Severine:  Sainte-Hel  ne 

III 

A 

2 

Shakespeare:  King  John 

I 

A 

1 

The  Tempest 

III 

B 

1 

The  Merchant  of  Venice 

III 

B 

6 

and  XI 

B 

2 

Hamlet 

IV 

A 

1 

and  XIII 

C 

Troilus  and  Cressida 

V 

C 

Richard  H 

VI 

B 

"             Timon  of  Athens 

VI 

C 

1 

Coriolanus 

VI 

c 

1 

and  XII 

B 

King  Lear 

VI 

C 

1 

Henry  VI 

VI 

B 

Henry  V 

IX 

B 

1 

and  XXXIII 

A 

1 

Pericles 

XXXV 

and  XI 

B 

2 

Two  Gentlemen  of  Verona 

XIV 

D 

Measure  for  Measure 

XXI 

D 

2 

Antony  and  Cleopatra 

XXII 

A 

4 

Henry  VIII 

XXV 

B 

5 

Romeo  and  Juliet 

XXIX 

B 

6 

INDEX  O:-'  AUTHORS 


177 


Shakespeare:  Julius  Caesar 

XXX 

A 

2 

Henry  IV 

XXX 

B 

Macbeth 

XXX 

C 

1 

Richard  III 

XXX 

C 

1 

"             Comedy  of  Errors 

XXXII 

A 

1 

Much  Ado  About  Nothing 

XXXII 

B 

1 

Othello 

XXXII 

B 

1 

"             Cymbeline 

XXXII 

B 

2 

A  Winter's  Tale 

XXXV 

Shaw:  Mrs.  Warren's  Profession 

XXVII 

A 

1 

Shelley:  The  Cenci 

III 

B 

5 

XIII  B  3  and  XXVI 

A 

3 

Sienkiewicz:  By  Fire  and  Sword 

X 

A 

Sophocles:  Chyses 

I 

A 

1 

"           Minos 

I 

A 

1 

"           Oicles 

I 

A 

1 

"           OZdipus  at  Colonus 

I 

and  XII 

A 

3 

"           Nausicaa 

I 

B 

1 

The  Pheacians 

I 

B 

1 

Acrisius 

I 

B 

2 

Philoctetes  at  Troy 

I 

B 

3 

"           Eurysaces 

I 

C 

0 

"           Andromeda 

II 

A 

iEgeus 

11 

B 

1 

Peleus 

I! 

B 

1 

and  VII 

C 

1 

"           Iolas 

II 

B 

2 

"           'Enee 

II 

B 

2 

Phineus 

11 

B 

2 

Aletes  and  Krigone 

III 

A 

1 

Nauplhu 

III 

A 

o 

Ixion 

III 

\ 

5 

The  Feast  of  the  Achaean 

III 

B 

•  > 

Phrixuf 

III 

B 

1 

Tfr> 

III 

B 

5 

The  Epigoni\s 

IV 

A 

1 

Elect  r;i 

IV 

A 

1 

Eriphyle 

IV 

\ 

1 

Meleager 

IV 

H 

Ajax  Locrian 

V 

B 

Laocoon 

\ 

c 

The  Shepherd 

VI 

\ 

1 

The  Xoanephorei 

\  1 

\ 

•j 

Teucer 

VI 

c 

2 

Sophoclei    The  Council  of  the  Argive 

IX 

A 

Laconian  Women 

l.\ 

c 

l 

Sinon 

IX 

1) 

l 

CEnom 

l\ 

D 

o 

( (rithyie 

\ 

\ 

Th<    '       it  tion  of  Helen 

B 

ITS 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Soph 

3cles:  Hermion^ 

X 

c 

2 

Polyidus 

XI 

A 

Women  of  Scyros 

XI 

c 

2 

'           Ulysses 

XI 

c 

3 

Philoctetes 

XII 

A 

Helen  Reclaimed 

XII 

c 

Thyestes  II 

XIII 

A 

2 

'           Ajax 

XVI 

B 

'           Eumele 

XVII 

A 

1 

'           Pelias 

XVII 
and  XIX 

c 

E 

4 

(Edipus  the  King 

XVIII 

A 

1 

'           Creusa 

XIX 

B 

1 

Telephus 

XIX 

B 

1 

Euryale 

XIX 

B 

2 

Alexander 

XIX 

c 

1 

Procris 

XIX 

G 

1 

Amphitryon 

XIX 

F 

3 

Alceste 

XXI 

A 

1 

Iphigenia 

XXIII 

A 

1 

'           Iobate 

XXVI 

B 

1 

Lemnian  Women 

XXIII 

B 

2 

Women  of  Colchis 

XXV 

A 

1 

Antigone 

XX 

A 

3 

The  Maidens  of  Trachis 

XXV 

B 

1 

Alcmeon 

XXV 

B 

4 

'           Phaedra 

XXVI 

B 

1 

Thamiras 

XXXI 

B 

3 

Niobe 

XXXI 

B 

4 

Eumele 

XXXI 

B 

5 

The  Phtiotides 

XXXII 

C 

4 

Palamede 

XXXIII 

C 

2 

Thyestes  at  Sicyon 

XXXV 

The  Captives 

XXXVI 

A 

1 

Laocoon 

XXXVI 

A 

1 

Polyxena 

XXXVI 

A 

1 

The  Ethiopians 

XXXVI 

C 

Soubhata:  The  Message  of  Angada 

X 

C 

2 

Soudraka:  The  Earthen  Toy-cart 

XXIV 

A 

5 

Soundara  Misra:  Abhirama  mani 

X 

C 

2 

Speroni:  Canace 

XXVI 

C 

2 

Spontini:  The  Danaides 

XXIII 

B 

3 

Stace:  Agave 

XXXI 

A 

1 

Stein:  La  Veuve  joyeuse 

XXVIII 

A 

2 

Sue:  Les  Enfants  naturels 

XVIII 

A 

2 

T 
Tarb6:  Monsieur  de  Morat 

XXV 

B 

3 

Tasso:  Torrismond 

XVIII 

A 

2 

(  i 

Jerusalem  Delivered 

XIX 

G 

1 

INDEX  OF  AUTHORS 


179 


Tchang-Koue-pin:  The  Tunic  Confronted 
Tellez:  Don  Juan 
Terni  iMme.i:  Les  Baillinnes 
Theodecte:  CEdipus 
"  Lyncee 

Theuriet:  La  Maison  des  deux  Barzeaux 
Thomas:  Francoise  de  Rimini 
Tiercel  in:  Un  voyage  de  noces 
Tirso  de  Molina:  Don  Juan 
Tolstoi:  The  Powers  of  Darkness 


Resurrection 

The  Kreutzer  Sonata 
Torquet:  Cent  lignes  emues 
Trarieux:  La  Dette 
Trissino:  Sophonisbe 
Tristan  1'  Hermite:  Marianne 


and 


III 

V 

XXXVI 

XVIII 

XXIII 

XXV 

XXV 

XXV 

V 

XIII 

XV 

XX 

XXV 

XXXVI 

XIV 

XX 

XXXII 


A 

1 

B 

A 

2 

A 

1 

B 

3 

C 

4 

C 

3 

A 

2 

B 

F 

A 

1 

C 

D 

1 

C 

B 

1 

B 

3 

A 

1 

Vacquerie:  Proserpine 

Jalousie 
Vallette:  Le  Viergp 
Valnay:  L'Esclave  du  Sevoin 
Van  Velde  (Mme.):  Lena 
Vauzelles   de):  Alceste 
Veber:  Lee  Grands 

Vedanyatha  Vatchespati:  Tchitra  Yadjgna 
\'erga:  Chevalerie  rustique 
Verhaeren:  Le  Cloltre 
Verlaine:  Louise  Leclen-q 
Verne:  Le  Tour  du  monde  en  80  jours 

Les  Enfants  du  capitaine  (irant 
Villemer:  L'Abaente 
Villiere:   Don  Juan 
Villien  de  ['Iale  Adam:  Le  Nouveau-Monde 

Vira:   Madhouranirouddha 
Viahakadatta:  The  Minister's  Ring 
Viswanatha:  Mrigancalckha 
Voltaire:  Briphyle 

Adelaide  I  >ugue  iclin 

Aga1  bode 

Anu'lic 

Don  Pedre 

Samson 

Pandora 

and 

Le    ivi,,;. 
<]., • 

La   Gudbref 

Le    I. "i    de  Minos 


XXV 

B 

7 

XXXII 

c 

5 

XXXIII 

B 

3 

XX  XI I 

A 

3 

XXVIl 

B 

4 

XXI 

A 

1 

XXXIII 

A 

:{ 

XXXI 

B 

2 

XXII 

A 

10 

X  X  X  1  V 

A 

•  > 

XVII 

(' 

■> 

IX 

I) 

1 

XXXV 

XXVII 

B 

1 

\ 

B 

X  X  V 

C 

1 

XIX 

A 

4 

XII 

\ 

XXIV 

A 

1 

l\ 

\ 

1 

XIV 

\ 

XIV 

\ 

•> 

XIV 

\ 

•» 

XIV 

\ 

•J 

XVII 

c 

:{ 

XVII 

(• 

l 

X  \  1  \ 

A 

l 

XIII 

\ 

•> 

Will 

\ 

1 

\l\ 

A 

■> 

XIX 

\ 

•> 

M 

180 


THIRTY-SIX  DRAMATIC  SITUATIONS 


Voltaire: 

Merope 

it 

Semiramis 

ii 

Mahomet 

•  i 

Le  Huron 

ii 

Tanis  et  Zelide 

ii 

Alzire 

ii 

Le  Triumvirat 

ii 

Zulime 

ii 

Brutus 

ii 

Nanine 

ii 

Les  Scythes 

ii 

Olympie 

1 1 

Irene 

ii 

Catilina 

i< 

La  Mort  de  Caesar 

ii 

Marianne 

ii 

Tancrede 

it 

Zaire 

ii 

Art6mire 

ii 

Oreste 

XIX 

XIX 

XIX 

XXI 

XXIV 

XXIV 

XXIV 

XXIV 

XXVII 

XXVIII 

XXIX 

XXIX 

XXIX 

XXX 

and  VIII 
XXX 
XXXII 
XXXII 

and  II 

XXXII 
XXXII 
XXXIV 


B 

1 

D 

E 

D 

2 

A 

2 

A 

3 

A 

3 

B 

4 

D 

1 

A 

1 

A 

4 

B 

1 

B 

4 

B 

A 

1 

A 

2 

A 

1 

A 

1 

A 

A 

2 

C 

2 

A 

■1 

w 


Wagner:  Lohengrin 

The  Ring  of  the  Nibelungs 

Parsifal 

Die  Meistersinger 
"         Tannhauser 
Wagner:  Tristan  and  Isolde 
Webster:  Vittoria  Corombona 

Appius  and  Virginia 

The  Duchess  of  Main 

Sir  Thomas  Wyat 
Wells:  The  War  of  the  Worlds 
Werner:  Attila 

The  Twenty-fourth  of  February 
Luther 
Wicheler:  Le  Mariage  de  Mile.  Beuleman.s 
Widor:  Maitre  Ambros 
Wilde:  Salome 
Willy:  Le  Frequet 

Lelie 
Wolf:  Les  Lys 


II 

A 

V 

c 

IX 

c 

2 

XXIV 

A 

9 

XXII 

A 

2 

XXV 

c 

3 

XV 

A 

1 

XXIV 

A 

3 

XXIX 

A 

1 

XXX 

B 

VI 

A 

2 

III 

A 

1 

XIX 

B 

1 

XX 

A 

4 

XXIV 

A 

8 

XXXIII 

B 

1 

XXII 

B 

XXIV 

B 

6 

XXII 

C 

2 

XXVIII 

D 

1 

Xenocles:  CEdipus 


XVIII 


A      1 


INDEX  OF  AUTHORS  181 


Zaccone:  La  Cellule  No.  7 
Zamacois:  Bohemos 
Zamora:  Don  Juan 
Zola:  Le  Reve 
"      La  Debacle 
"     L'Argent 

and 
Germinal 
"     La  Terre 

and 
Therese  Raquin 

and 
La  Bete  humaine 
"     L'CEuvre 

La  Joie  de  vivre 

and 
"      La  Faute  de  l'ubbe  Mouret 

La  Conquete  de  Hassans 
"      Nana 

L'Assommoir 
Le  Capitaine  Burle 
"      Jacques  Damour 
"      Pot-bouille 
Renee 
Zola:   La  '  uree 
"      Dr.  Pascal 

Son  Excellence  Kugene 
La  Fortune  des  Rougon 
Le  Ven1  re  de  Paris 
Madeleine 
Zorilla:    Don  Juan 


ANONYMOUS 


III 

B 

3 

XXIV 

A 

9 

V 

B 

I 

B 

2 

VI 

A 

1 

VI 

B 

XVII 

A 

2 

VIII 

B 

2 

XIII 

B 

1 

XXX 

c 

1 

XV 

A 

1 

XXXIV 

A 

4 

XVI 

A 

2 

XX 

A 

4 

XXI 

A 

2 

XXIV 

B 

7 

XXII 

A 

1 

XXII 

A 

2 

XXII 

A 

6 

XXII 

C 

2 

XX11 

C 

1 

X  X  V 

C 

2 

XXV 

(' 

7 

XXVI 

B 

2 

XXVI 

B 

■  > 

XXVI 

B 

•) 

XXX 

(' 

1 

\\\ 

C 

1 

\  win 

c 

2 

X  X  X  1  V 

B 

1 

V 

B 

( !hineae:  The  Sin^t  r 

ill 

\ 

1 

Hindu 

\  narghara-ffhava 

\ 

(' 

•> 

i  * 

l  >hour1 1  a  Narl  taka 

XXII 

\ 

I 

t  • 

DhoUTl  la  Sainav;aina 

\\l\ 

\ 

l.i 

•  • 

I  [anouman 

\ 

(' 

■> 

My  '■ 

i ■.     Le  M..  tere  d'Adam 

VI 

A 

a 

Mirac 

l«-     Eloberl  le-Diable 

\ 

\ 

• « 

Barlaarn  el  Jo  laphal 

\ 

1) 

8 

" 

La  Mere  meutriere  de 

enfanl 

XVII 

C 

•J 

»  i 

Saint  Al<-xis 

Xl\ 

0 

8 

" 

Saint  [gnace  d'Anl  ioche 

\\ 

\ 

4 

•• 

Guibor 

Will 

1! 

I 

•  * 

L'Empereur  Julien 

XXXI 

\ 

•  • 

182  THIRTY-SIX  DRAMATIC  SITUATIONS 

Miracles: 


La  Mere  du  Pape 

XXXI 

B 

4 

La  Fille  du  roi  d'Espagne 

XXXII 

B 

2 

Berthe-au-grand-pied 

XXXV 

La  Reine  aux  trois  fils 

XXXV 

Berthequine 

XXXV 

UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  lapidate  stamped  below. 


RE 

OL   OCT 
UL   jui 

art  I  IBRARV 


L  006  288  375  6 


AA    000  618  423    8 


1 


hi 

I 


#* 


] 


/  ■ 


Li 


